A    PLEA    FOR   BIBLIOMANIA 


A   MONOGRAPH 


ON 


PRIVATELY  ILLUSTRATED 


BOOKS 


A    PLEA    FOR   BIBLIOMANIA 


BY 

DANIEL   M.  TREDWELL 


# 


LINCOLN    ROAD 

FLATBUSH,  LONG   ISLAND 

PRIVATELY   PRINTED 

1892 


Copyright,  1891,  by 
Daniel  M.  Tredwell,  Flatbush,  L.  I. 


THE  DE  VINNE  PRESS. 


THIS    VOLUME 
IS    DEDICATED    TO    THE    MEMORY    OF 

THE    FIRST    AMERICAN    ILLUSTRATOR 


NOTICE. 

We  have  visited  nearly  all  of  the  book  collections 
named  in  the  following  monograph,  and  have  in- 
spected a  vast  number  of  the  books  mentioned. 
In  some  instances  our  information  was  obtained 
through  persons  specially  commissioned  by  us  for 
the  purpose ;  in  others,  we  have  only  a  statement 
prepared  by  the  owner;  in  cases  where  it  was  in- 
expedient for  us  to  visit  in  consequence  of  the  dis- 
tance, sample  volumes  have  been  sent  us,  that  is, 
one  volume  of  each  important  set,  and  we  have  ac- 
cepted the  statement  of  the  owner  for  the  balance. 
It  had  been  our  original  intention  to  give  an  ac- 
count of  the  origin  or  beginning  and  development 
of  each  collection.  This  we  soon  found  to  be  imprac- 
ticable. These  accumulations  of  extra-illustrated 
books  were  commenced  by  and  grew  to  their  present 
magnitude  under  the  fostering  care  of  their  present 
owners  ;  yet,  on  inquiring  of  them,  not  one  seemed 
to  have  any  clear  conception  as  to  when  or  how  he 

9 


first  began  to  accumulate  material  with  the  inten- 
tion of  illustrating  books.  We  believe  that  in  the 
earlier  times  prints  were  collected  purely  for  the 
love  of  them,  and  without  any  notion  of  illustrating 
books  with  them.  It  was  so  with  us,  and  we  could 
not  with  historic  certainty  fix  the  period  when  we  first 
availed  ourselves  of  prints  for  the  purpose  of  illus- 
trating the  text  of  a  book.  The  institution  of  pri- 
vately illustrating  is  of  too  recent  an  origin  for  a 
history.  The  greater  part  of  the  work  (extra  il- 
lustrating) in  this  country  has  been  accomplished 
within  the  past  fifteen  years.  There  were  but  very 
few  engaged  in  it  thirty  years  ago,  and  forty-five 
years  ago  we  may  say  none.  We  also  know  that 
John  Allan,  of  New-York,  Mr.  Dreer  and  Dr. 
Koecker,  of  Philadelphia,  and  Mr,  Moreau,  of  New- 
York,  have  been  enthusiasts  in  this  work  a  very 
long  time.  I  also  know  that  there  were  many  peo- 
ple selecting  and  purchasing  prints  fifty  years  ago, 
but  for  what  purpose  I  have  never  ascertained. 
Nearly  all  of  them  are  dead  now,  and  I  have  not 
heard  of  their  having  illustrated  any  books. 

I  know  one  man,  however,  whose  record  as  a 
print-collector  goes  far  back,  and  who  is  still  alive 
and  still  collecting.     I  do  not  believe  that  he  ever 

ID 


illustrated  any  books.  Many  years  ago  his  face 
became  familiar  to  me  in  the  old  haunts  where 
prints  were  sold,  and  I  occasionally  meet  him  now. 
We  have  never  spoken,  and  I  never  knew  his  name. 
He  took  offense  at  what  he  considered  an  unfair 
advantage  on  my  part  in  obtaining  a  print  which 
he  wanted,  and  I  think  he  hates  me  yet.  This, 
however,  is  a  problem  for  the  moralist,  and  we  shall 
not  arraign  it  for  adjudication  before  this  tribunal. 

The  history  of  privately  illustrated  books  is  not 
unlike  any  other  history ;  it  cannot  be  written 
during  the  lifetime  of  its  principal  actors. 

The  nucleus  around  which  this  volume  grew  to 
its  present  dimensions  was  a  lecture  delivered  be- 
fore the  Rembrandt  Club  of  Brooklyn,  December  8, 
1880.  We  have  deemed  it  advisable  to  retain  this 
lecture  nearly  intact  as  a  prefatory  chapter.  The 
dates  and  periods,  however,  have  been  made  to 
conform  to  this  publication. 

The   description  of  some  of  the   collections    is 

monotonous  and  a  little  catalogiiey.     In  all  cases, 

however,  in  which  the  owners  were  consulted  the 

methods  adopted  were   approved  by  them.      The 

facts  were  generally  taken  down   in  the   libraries 

with  the  books  before  us,  and  from  the  memoranda 

1 1 


there  taken  transcribed  for  these  pages  with  little 
or  no  alteration,  except  that  in  some  large  collec- 
tions the  description  of  individual  books  has  been 
abbreviated.  No  effort  has  been  made  to  give  un- 
due significance  to  or  withhold  deserving  praise 
from  any  collection,  but  all  have  been  treated, 
according  to  our  best  judgment,  on  their  merits. 
In  many  instances  our  time  would  not  permit  tak- 
inof  down  the  volumes  with  the  same  detail  as  in 
others.  This  has  resulted  in  treating  some  small 
collections  more  fully  than  larger  ones.  Again, 
some  owners  were  not  altogether  pleased  with  the 
publicity  we  proposed  giving  their  private  collec- 
tions, and  very  properly  insisted  upon  dictating  the 
description  of  their  books.  There  are  many 
delightful  volumes,  principally  in  large  collections, 
passed  over  hurriedly,  to  our  regret;  and  yet 
some  collections  were  visited  as  many  as  three 
times. 

We  have  been  specially  solicitous  to  obtain  col- 
lections from  the  outlying  districts,  whether  large 
or  small ;  they  serve  a  purpose  with  us  of  determin- 
ing the  extent  of  the  prevalence  of  the  illustrating 
passion.  Consequently  we  may  have  given  an  im- 
portance to  collections  of  distant  places  which  would 

12 


command  but  little  attention  in  the  great  cities  of 
New-York,  Boston,  Philadelphia,  and  Chicago. 

We  have  deemed  it  unnecessary  to  give  verba- 
tim titles  to  well-known  works,  and  have  clothed 
them  generally  in  their  every-day  garments. 


CHAPTER   I. 


Gentlemen  of  the  Rembrandt  Club  : 

'HE  invitation  which  has  brought  me  be- 
fore you  this  evening",  in  the  capacity  of 
essayist,  was  to  give  my  experience  in  the 
seductive  art  of  p7nvately  illiistratifig  books} 

One  prefatory  word,  therefore,  as  to  personal  ex- 
periences ;  for,  although  I  am  not  so  daintily  en- 
dowed as  to  be  deemed  axiomatically  modest,  nor  so 
apathetic  of  praise  as  to  be  indifferent  to  applause, 
still  I  have  a  consciousness  of  the  insignificant 
space  occupied  by  the  pronoun  "  I  "  in  the  English 

1  Probably  no  man  ever  lived  who  has  done  more  to  stimulate  this  depart- 
ment of  art  than  he  whose  name  has  been  assumed  by  this  club. 

A  descriptive  catalogue  of  the  prints  of  Rembrandt,  by  an  amateur,  1836, 
has  been  illustrated  by  inserting  Rembrandt's  own  works. 

"  Rembrandt  and  his  Works,"  by  Burnet,  1859,  has  been  many  times  illus- 
trated. 

One  of  the  first  privately  illustrated  books  I  remember  ever  having  seen 
was  a  Dutch  book  about  Rembrandt,  by  Immerzeel  or  Nagler.    It  was  illus- 

15 


dictionary,  and,  on  the  other  hand,  of  the  usual 
obtrusive  and  ostentatious  pretenses  of  the  first 
person  singular,  notwithstanding-  Descartes  has 
made  it  the  column  around  which  he  has  fabricated 
his  great  system  of  philosophy :  Cogito,  ergo  sum, 
and  nothing  else  is. 

To  present  to  you  the  starved  and  meager  com- 
pend,  the  individual  gleanings  merely  of  a  great 
subject,  while  the  broader,  more  fertile,  and  more 
cultivated  fields  of  equally  easy  access  beyond  the 
personal  domain  are  inviting  us  to  the  harvest, 
would  be  an  injustice  to  you  and  a  parade  of  inde- 
fensible conceit  in  me. 

There  is  a  natural  egotism  or  self-glorification 
in  the  relation  of  one's  own  achievements,  even 
when  never  so  modestly  told  ;  and  more  especially 
is  this  true  in  the  present  case,  where  the  individual 
achievements  are  dwarfed  by  comparison  with  and 

trated  by  reproduced  and  some  original  works  of  Rembrandt.  This  I  saw  at 
Nunan's,  in  Nassau  street,  New-York,  about  forty  years  ago. 

Nor  can  it  be  otherwise  than  that  there  should  be  a  great  desire  to  possess 
works  so  desirable,  not  only  as  works  of  art,  but  also  for  their  great  commer- 
cial value. 

Passing  over  the  loo-guilder  print  of  Rembrandt,  which  at  its  last  sale 
fetched  nearly  $6000,  "  One  of  the  next  best  evidences  of  the  effect  of  a 
man's  culture  upon  the  age  is  the  money  value  which  attaches  to  his  works. 
The  most  wonderful  instance  of  this  is  Rembrandt's '  Sleeping  Dog,'  sketched 
in  the  corner  of  a  plate,  measuring  about  four  inches  and  a  quarter  wide  by 
two  and  a  half  high,  and  afterward  cut  down  to  three  and  a  quarter  by  one 
and  a  half  inches.  Only  one  impression  is  known,  which  was  sold  at  Mr. 
Hibbert's  sale,  1809,  for  $7.50.  The  Duke  of  Buckingham  subsequently  ob- 
tained it  for  $30.  At  his  sale  in  1834  it  brought  $305,  and  in  1841  the 
British  Museum  paid  $600  for  it  —  a  little  over  $130  per  square  inch." — 
Hammetion,  Etching  and  Etchers,  p.  81. 

16 


proximity  to  the  grander  and  more  princely  pro- 
ductions of  the  more  cultured  and  more  favored  by 
fortune. 

Not  that  I  would  in  the  least  degree  discourage 
modest  individual  effort,  nor  a  just  and  emulous 
pride  in  one's  own  productions,  however  unpreten- 
tious ;  for  the  pleasure  is  no  less  keen  (indeed,  it  is 
probably  much  keener)  with  the  humble  devotee 
than  with  those  more  bountifully  endowed  with  the 
omnipotent  dollar.  There  is  at  least  one  whole- 
some truth  pervading  all  human  endeavor  after  hap- 
piness ;  it  is  that  the  racy  enjoyments  of  this  life  are 
those  enjoyments  in  the  attainment  of  which  there 
have  been  an  exertion  and  a  force  expended.  The 
pleasure  derived  from  this  consecrated  energy, 
which  so  enhances  the  achievement  of  the  book- 
lover,  cannot  be  bought  with  money ;  to  him  his 
achievement  is  not  mere  property — it  is  a  laurel 
wreath  of  victory.  "And  bind  it  upon  the  plow," 
said  Pliny. 

One  of  the  great  reasons  why  the  garrulous  Dib- 
din's  riotings  among  rare  and  valuable  books  are, 
after  all,  so  devoid  of  genuine  interest  to  the  r-eal 
lover,  is  that  he  occupied  himself,  to  a  great  degree, 
in  catering  for  men  with  measureless  purses  ;  hence 
his  writings  have  the  patrician  odor  of  "plush  lin- 
ings," "crushed  levant,"  "spotless  India  proof  be- 
fore letter,"  and  editions  de  luxe^  rather  than  the 

17 


more  plebeian  smell  of  "old  book-stalls,"  "cellars," 
and  "hogskin." 

More  celebrity  has  attached  to  the  finder  of  an 
entombed  literary  nugget,  amid  the  accumulated 
dust  and  filth  of  ages  (which  nothing  short  of  the 
keenness  of  scent,  the  latent  sagacity  of  the  per- 
sistent "book-hunter"  would  ever  have  brought  to 
the  light  of  day),  than  the  quiet  enjoyment  of  all 
that  could  be  bought^ with  the  wealth  of  Croesus. 
The  works  of  Aristotle,  which  have  had  more  in- 
fluence on  the  human  mind  than  any  other  writings 
in  existence,  owe  their  discovery  —  after  having 
been  lost  two  hundred  years  —  to  an  old  book-col- 
lector named  Apellicon,  who  will  never  be  forgot- 
ten while  Aristotle  lasts.  The  priceless  volumes 
of  Quintilian,  rotten  with  damp,  amid  filth  and  dirt, 
were  unearthed  by  Poggio,  equally  immortal.^  The 
commentaries  and  orations  of  Cicero  were  found 
under  similar  circumstances,  begrimed,   corroded, 

1  The  works  of  Aristotle  were  found  in  a  cellar  by  Apellicon,  a  book- 
collector  of  Teos,  where  they  had  been  hid  by  Neleus  and  forgotten.  For 
two  hundred  years  the  precious  documents  remained  in  their  subterranean 
prison.  When  found,  damp,  moths,  and  worms  had  made  great  inroads  upon 
them,  but  Apellicon  had  them  immediately  copied,  and  hence  the  preserva- 
tion of  these  writings,  which  have  had  more  influence  on  the  human  mind 
than  any  other  writings  in  existence.  There  are  many  strange  stories  of  the 
finding  of  manuscripts,  such  as  the  history  of  the  "War  of  Ilium,"  "Geof- 
frey of  Monmouth's  story  of  Gaultier's  discovery  of  the  Cimbric  volume," 
"  Chatterton's  discovery  of  Rowley's  poems,  "  and  "  Ireland's  discovery  of 
the  Vortigern."  But  let  us  turn  to  the  more  historical.  In  a  dark  and  filthy 
dungeon,  begrimed  with  dirt  and  rotten  with  damp,  Poggio  found  the  price- 
less works  of  Quintilian.  Groping  about  in  the  same  noisome  cavern,  he 
rescued  the  first  three  books  and  part  of  the  fourth  of  the  "  Argonautica  "  of 

i8 


and  soiled.  This  is  also  true  of  the  annals  of 
Tacitus,  which  lay  in  darkness  until  the  fifteenth 
century. 

The  first  book  printed  in  England  was  "  The  Game 
of  Chesse,"  by  William  Caxton,  in  1474.  A  book- 
hunter  nicknamed  Snuffy  Davy^  found  at  an  old 
book-stall  in  Holland  an  only  copy  of  this  book, 
which  he  bought  for  twopence  sterling,  and  which 
he  sold  to  Osborne,  a  London  bookseller,  for  $100. 
Osborne  sold  it  to  Dr.  Anthony  Askew  for  $320, 
and  at  Dr.  Askew's  sale  it  was  purchased  for 
$850,   for  the  Royal  Library,   where  it  will  ever 

Valerius  Flaccus.  Many  of  Cicero's  orations  were  discovered  under  similar 
circumstances  lurking  in  out-of-the-way  places,  where  they  had  been  hid  to 
escape  the  despoiler.  The  grand  and  glorious  masterpiece  of  Lucretius 
was  found  in  a  monastery.  Many  other  classics,  among  them  Plautus, 
Tacitus,  Manilius,  Petronius,  and  Arbiter,  were  stumbled  upon  in  the  mon- 
asteries of  Germany.  Propertius,  the  prince  of  the  Latin  elegiac  poets,  had 
a  narrow  escape  indeed.  The  manuscript,  and,  there  is  reason  to  believe,  the 
only  manuscript  that  contained  his  poems,  was  found  stained,  squalid,  and 
crumpled  under  the  casks  in  a  wine-cellar.  In  Westphalia  a  monk  came 
accidentally  upon  the  histories  of  Tacitus,  and  to  this  happy  chance  we  are 
indebted  for  one  of  the  most  priceless  volumes  of  antiquity,  a  work  which  has 
had  more  influence  on  modern  prose  literature  than  any  single  book  in  the 
world.  The  most  interesting  treatise  which  Cicero  has  bequeathed  to  us  was 
discovered  amid  a  heap  of  refuse  and  rubbish  near  Milan,  by  a  bishop  of 
Lndi,  early  in  the  fifteenth  century,  and  the  only  valuable  manuscript  of  Dios- 
corides  was  when  found  in  a  similar  state,  so  thoroughly  riddled  by  in- 
sects, says  Lambecius,  that  one  would  have  scarcely  stooped  to  pick  it  up. 
Livy,  or  rather  what  remains  of  him,  was  picked  up  piecemeal.  One  of 
Horace's  odes  was  found  sticking  to  an  early  impression  of  Cicero's  "  Offi- 
ces." Part  of  the  "  Odyssey  "  (300  lines)  was  found  grasped  in  the  hands 
of  a  mummy. 

1  Davie  Wilson,  from  his  inveterate  addiction  to  black  rappee,  was  called 
Snuffy  Davy.  He  was  the  prince  of  scouts  for  searching  blind  alleys,  cellars, 
and  stalls  for  rare  volumes.  He  would  detect  for  you  an  old  black-letter 
ballad  among  the  leaves  of  a  law  paper,  and  find  an  editio princeps  under  the 
mask  of  a  school  Corderius. 

19 


remain.^  Should  another  perfect  copy  of  this 
book  turn  up,  heaven  only  knows  what  it  would 
fetch.  Ouaritch,  a  London  bookseller,  has 
now  an  imperfect  copy,  for  which  his  price  is 
$2000.^ 

I  might  animadvert  upon  the  gems  which  have 
been  resurrected  by  the  book-hunter  from  the  base- 
ment of  William  Gowans,  in  Nassau  street,  New- 
York.  Of  choice  books,  however,  Mr.  Joseph 
Sabin,  also  of  Nassau  street,  undoubtedly  kept, 
during  a  period  of  ten  years,  from  1865  to  1875, 
the  finest  stock  in  New-York.^ 

Gowans  probably  had  the  largest  collection  of 
its  kind  in  the  world.     And  some  of  these  restored 

1  And  we  all  remember  Sir  Walter's  quiet  satire  on  the  book-collecting 
race  in  the  mock  heroics  which  he  puts  into  the  mouth  of  Jonathan  Old- 
buck:  "Happy,  thrice  happy  Snuffy  Davie,  and  blessed  were  the  times 
when  thy  industry  could  be  thus  rewarded." 

2  The  questions,  "  What  becomes  of  all  the  books  ?  "  "  Who  are  the  great 
biblioclasts  ?  "  are  certain  to  be  asked  by  the  inquisitive  reader  at  some  stage 
of  this  lecture,  and  they  may  as  well  be  answered  here  as  elsewhere.  I 
would  refer  the  inquirer  to  a  beautiful  little  book,  published  in  1880,  by 
Triibner  &  Co.,  London,  called  "  The  Enemies  of  Books,"  by  William  Blades, 
in  which  he  enumerates  and  devotes  Chapter  I.  to  Fire  as  one  of  the  ene- 
mies, Chapter  II.  to  Water,  Chapter  III.  to  Gas  and  Heat,  Chapter  IV.  to 
Dust  and  Neglect,  Chapter  V.  to  Ignorance,  Chapter  VI.  to  The  Book  Worm, 
Chapter  VII.  to  Other  Vermin,  Chapter  VIII.  to  Bookbinders,  Chapter  IX. 
to  Collectors.  With  all  these  and  many  other  enemies,  is  it  at  all  surprising 
that  whole  editions  have  passed  into  the  realms  of  the  unknowable  ? 

3  Mr.  Sabin's  knowledge  was  probably  greater  than  that  of  any  man  in 
this  country,  and  his  fame  extended  to  all  the  book-markets  of  the  world. 
He  was  an  Englishman,  born  in  Hampshire,  in  182 1.  He  died  leaving  the 
great  work  of  his  life  unfinished.  It  was  a  dictionary  of  all  the  books  ever 
published  relating  to  America.  In  alphabetic  order  he  had  reached  "  Pa  "  ; 
his  strong  desire  to  live  was  associated  with  the  completion  of  this  work. 
The  task  was  colossal.  Mr.  Sabin's  son  succeeded  him  in  the  business,  or  in 
that  department  relating  specially  to  prints. 

20 


volumes  in  princely  wardrobes,  still  retaining  the 
genuine  perfume  of  time,  are  now  the  pride  of  the 
Lenox  Library.^ 

The  many  anecdotes  related  of  Mr.  Gowans  will 
not  be  transmitted  here.  But  were  we  called  upon 
to  advance  advice  to  novitiates  in  book-hunting 
out  of  the  storehouse  of  our  knowledge  obtained 
through  personal  attrition  with  old-book  sellers 
generally,  and  the  like  of  Mr.  Gowans  specially, 
we  should  say  that  of  all  the  places  known  to  us 
an  old-book  store  is  probably  the  most  hazardous 
in  which  to  make  an  ostentatious  display  of  your 
learning — you  are  never  quite  sure  of  your  audi- 
ence. Many  a  young  man  and,  in  truth,  older 
men  have  been  taken  down  in  their  high  con- 
ceits most  unexpectedly,  and  from  sources  start- 
ling as  thunder  from  a  cloudless  sky.  "  Never 
volunteer  literary  information  to  an  old-book 
seller,"  says  J.  Hill  Burton — "for  two  reasons. 
He  regards  you  only  in  the  light  of  your  cash 
value,  and  is  absolutely  indifferent  about  your 
learning.  And,  secondly,  he  is  quite  likely  to 
be  better  informed  upon  your  pet  subject  than 
you  are  yourself" 

Treasures  of  books  in  soiled  and  worn  exteriors 

1  There  are  at  this  moment  books  to  be  purchased  for  trivial  sums  which 
will  eventually  be  worth  their  weight  in  gold;  this  much  we  know  from  a 
contemplation  of  the  fact;  but  to  identify  them  among  the  mass  of  extant 
worthless  literature  pitched  into  your  lap  in  railroad-cars,  and  rained  upon 
you  at  the  stations,  requires  a  shrewder  discernment  than  we  possess. 

21 


are  not  the  only  surprises  one  is  likely  to  encoun- 
ter in  an  old-book  store.^ 

Charles  Nodier,  one  of  the  greatest  and  most 
learned  of  all  the  French  literati  of  the  first  half  of 
the  present  century,  was  also  a  great  book-collec- 
tor, and  was  frequently  seen  around  the  book-stalls 
of  the  city.  He  took  great  delight  in  these  excur- 
sions, and  frequently  boasted  of  the  conquests  he 
had  made.  One  day  he  went  from  one  boqumiste 
to  another,  trying  to  complete  a  collection  of  classics 
in  which  he  took  deep  interest.  He  entered  a  stall 
at  the  corner  of  the  Pont  des  Arts,  kept  by  a  shabby 
little  man,  where  he  discovered  the  treasure  —  a 
Schrevelius  in  the  Leyden  edition  of  1671.  He 
opened  it  to  make  sure  he  was  right,  and  then  said 
in  a  careless  tone:  "Well,  my  good  fellow,  what 
do  you  want  for  this  rubbish  ?  I  '11  give  you  thirty 
sous."  '*  Rubbish  —  thirty  sous!"  cried  the  stall- 
man,  in  apparent  holy  horror.  "Rubbish!  But, 
Mr.  Nodier  —  "  "What!  you  know  my  name!" 
"  Oh,  monsieur,  who  is  there  who  does  not  know  the 

1  This  class  of  old-book  sellers  seems  to  have  become  nearly  extinct.  A 
large  percentage  of  the  present  race  know  as  little  about  old  books  as  old 
books  know  about  them.  And  of  those  who  now  buy  old  books  "  The  Col- 
lector "  says:  "  —  new  kind  of  book-collector  has  been  created  in  America 
by  our  purely  commercial  time  and  civilization,  and  one  who  would  make  the 
ancient  patrons  of  Quaritch  and  Bouton  shudder  with  horror,  should  tliey  be 
brought  into  comparison  with  him.  This  is  the  collector  who  hires  his  col- 
lecting done  for  him.  There  are  more  of  these  mechanical  and  soulless  be- 
ings among  us  than  we  wot  of,  perhaps.  Certainly  their  agents  are  every- 
where. One  ferrets  out  one  species  of  literature,  and  one  another.  Their 
principals  sit  at  their  ease,  and  have  neither  the  delight  of  discovery  nor  the 

22 


name  of  the  learned,  the  accomphshed,  the  kindly 
academician  to  whom  we  are  indebted  for  so 
many  delightful  works  ?  "  Nodier,  highly  flattered, 
looked  at  the  little  man  with  the  utmost  astonish- 
ment and  curiosity.  "Thirty  sous,  Mr.  Nodier!" 
the  other  continued;  "rubbish  —  this  Schrevelius  ! 
This  variorum  edition,  though  it  is  less  looked  for 
than  the  Amsterdam  edition  of  1684,  is  not  a  whit 
less  remarkable,  and  certainly  does  not  deserve  the 
scorn  you  profess  to  have  for  it.  I  will  not  go  so 
far  as  to  compare  it  with  the  Venice  Aldines  of  1 501, 
but  still — "  Nodier,  astonished  to  hear  the  little 
man  talking  like  this,  put  a  host  of  bibliographical 
questions  to  him,  all  of  which  he  answered  in  a 
manner  that  completed  the  academician's  surprise. 
Delighted  to  find  so  much  learning  under  the  well- 
worn  surtout  of  the  book-stall  keeper,  Nodier 
asked  his  opinion  on  a  new  edition  of  Juvenal 
which  Achaintre,  the  first  Latinist  of  the  day,  had 
just  brought  out.  At  this  the  old  man  seemed 
confused.     "Surely,  monsieur,"  said  Nodier,  "you 

bliss  of  bargaining.  They  amass  their  libraries  in  a  purely  business  way, 
insensible  to  the  fascination  of  a  find,  and  callous  to  those  charms  of  chance 
that  transport  the  true  bibliophile  to  his  seventh  heaven.  Even  the  book- 
sellers do  not  know  their  names,  for  secrecy  is  part  of  their  program.  It 
is  one  of  the  vulgar  affectations  of  American  collectorship  of  the  shoddy  order 
for  the  collector  to  conceal  his  identity;  but  I  have  never  yet  known  a  true 
amateur  who  was  ashamed  to  have  his  acquisitions  known.  Charles  Mon- 
selet's  aphorism  holds  here  as  in  France.  '  Mere  purchasing,'  said  he, 
'  does  not  constitute  collecting.  Any  one  with  money  can  buy.  It  is  he 
who  seeks,  uncovers,  and  wrests  from  obscurity  that  which  is  worth  preser- 
vation whom  we  may  safely  call  an  amateur.'  " — The  Collector,  March  1, 1891. 

23 


have  heard  of  this  monumental  work,  which  will  be 
the  envy  and  the  despair  of  the  German  philolo- 
gists." "The  fact  is,  monsieur,"  replied  the  little 
man,  with  growing  embarrassment,  "  the  fact  is 
that  I  am  Achaintre."^ 

But  all  this  is  merely  introductory.  We  deal 
this  evening  with  a  more  special  phase  of  the  book- 
malady,  and  yet  we  cannot  well  treat  them  en- 
tirely apart.  A  collector  of  rare  books  may  not 
necessarily  be  an  illustrator;  but  I  have  never 
known  an  illustrator  who  was  not  also  a  collector. 

Why  I  should  have  been  selected  for  this  honor, 
in  the  presence  of  connoisseurs  and  men  of  superior 
attainment  and  experience  in  this  department  of 
art,  is  more  than  I  am  able  to  determine.'^  I  know 
of  no  commendable  qualifications  of  my  own  in  the 
line  of  literature,  unless  it  be  an  almost  boundless 
enthusiasm. 

There  is  a  saying  of  Comte  de  Buffon  which  has 
been  a  wonderful  solace  to  me,  and  I  will  repeat  it 
here  for  the  benefit  of  all  whom  it  may  concern, 
believing  them  to  be  many:  "I  would  give  no- 
thing," said  he,  "for  a  young  man  who  did  not  be- 

1  Nicholas  Louis  Achaintre,  school-teacher,  born  1 771.  Produced  Horace 
in  1806,  Juvenal  in  1810,  Perseus  in  1812. 

2  A  great  misconception  seems  to  have  gone  abroad  concerning  my  collec- 
tion of  books.  It  is  not  large;  it  is  unimportant,  except  from  a  scientific 
point  of  view.  And  even  in  that  relation  it  is  far  from  being  a  notable  li- 
brary. It  would  be  called  a  collection  of  books  on  ethnology  and  the  kin- 
dred sciences  of  mythology  and  philology,  a  few  classics,  some  books  on  art, 
and  some  works  on  bibliography. 

24 


gin  life  with  an  enthusiasm  of  some  kind ;  it  shows, 
at  least,  that  he  had  faith  in  something  good,  lofty, 
and  generous  from  his  own  standpoint." 

We  have  always  had  our  distrust  of  moral  per- 
fection. The  man  who  has  no  defect,  no  crack  in 
his  character,  no  tinge  of  the  minor  immoralities, 
no  fantastic  humor  carrying  him  sometimes  off  his 
feet,  no  preposterous  hobby — such  a  man,  walking 
straight  along  the  surface  of  this  earth  in  the  arc 
of  a  circle,  is  a  dangerous  character.  I  think  Lord 
Brougham  said,  "  Blessed  is  the  man  who  has  a 
hobby."     It  may  be  dogs. 

My  own  illustrated  books  are  all  of  a  very  hum- 
ble character  indeed.  All  small  and  unpretentious, 
there  are  no  towering  folios  among  them,  no  unique 
editions,  no  Whatman  drawing-paper.  Nor  did  it 
ever  occur  to  me,  in  building  them  up,  that  I  was 
performing  more  than  a  purely  selfish  act,  or  any- 
thing worthy  of  the  least  public  attention.  I  have 
felt  rather  ashamed  than  exalted  by  my  weakness. 

I  shall,  therefore,  in  this  essay,  lay  before  you : 

First.  Very  briefly,  indeed,  the  account  of  my 
life's  experience  in  this  department  of  art. 

Secondly.  Illustrations  of  the  process  of  this 
unique  book-making. 

Thirdly.    The   names,   attainment,   career   (and 
nature  of  the  work)  of  the  most  accomplished  men 
who  have  fallen  victims  to  this  infatuation. 
3  25 


Our  theme,  then,  must  be  illustrated  copies  in 
the  concrete,  their  styles  and  their  growth.  No 
matter  how  severely  tempted  we  may  be  to  enter  the 
domain  of  Elzevirs,  Aldines,  Baskervilles,  Picker- 
ings, Chiswicks,  black-letter,  vellum,  first  editions, 
large  paper,  privately  printed  and  uncut  copies,  by 
the  terms  of  our  invitation  we  are  forbidden  the 
indulgence  of  this  unique  luxury.  We  are  also 
interdicted  the  princely  libraries  of  our  esteemed 
citizens — Hon.  Henry  C.  Murphy,  on  American 
colonial  history  ;  J.  Carson  Brevoort,  on  early  voy- 
ages, travels  and  geography;  the  now  dispersed 
collection  of  Thos.  W.  Field,  on  the  ethnology  of 
the  aboriginal  Americans;^  of  Whitman  W.  Kenyon 
(president-elect  of  this  association),  on  art  and  art- 
culture  ;  Dr.  Charles  E.  West,  on  Icelandic  and 
Anglo-Saxon  literature ;  Mr.  Havemeyer,  on  gen- 
eral history  and  political  economy  ;  Mr.  James  Bell, 
covering  the  entire  field  of  ancient  and  modern 
literature ;    the   thirty  thousand  volumes  of  Hon. 

1  This  was  the  finest  special  collection  of  works  relating  to  the  Indians 
of  America  and  Indian  Antiquities  that  has  ever  been  gathered  in  this 
country. 

DeBry's  "  grand  collection  of  voyages"  are,  as  every  one  knows,  excessively 
rare  in  a  perfect  state.  The  set  of  Mr.  Field  was  the  most  perfect  ever  sold 
in  America.  The  editor  of  Mr.  Field's  sale  catalogue  (Mr.  Sabin)  says  "  that 
this  set  was  purchased  by  him  at  the  sale  of  the  library  of  the  late  Baron  de 
Sobolewski,  of  Moscow,  in  1873,  since  which  Mr.  Field  has  supplied  some 
of  its  defects.  It  now  lacks  only  two  leaves  in  the  letter-press  of  part  XIII. 
Mr.  Field  also  supplied  many  plates  in  duplicate.  The  publication  of  this 
great  work  occupied  nearly  fifty  years.  The  DeBrys  —  father,  son,  and 
grandson  —  successively  wrought  upon  this  work,  which  was  completed  to 
and  included  the  thirteenth  part,  which  last  is  the  rarest  of  all.     A  book-col- 

26 


John  R.  Reid,  of  Babylon,  on  general  literature, 
belles-lettres,  and  fine  arts;  the  antiquarian  and 
anthropological  collection  of  Hon.  E.  G.  Squier — 
all  of  which  have  no  status  under  our  title;  and, 
although  I  much  regret  the  drawing  in  of  our 
lines,  yet  it  must  be  confessed  that  the  field,  even 
thus  contracted,  is  quite  broad  enough  upon  which 
to  discuss  the  ethics  of  our  subject.  No  greater 
inspiration  is  necessary  to  an  unsullied  moral  life 
than  a  full  and  absolute  fellowship  with  an  illus- 
trated copy,  full  bound,  by  Matthews,  in  crushed 
levant,  of  Boswell's  "Johnson,"  or  of  Walton's 
"Complete  Angler"  —  two  books  of  noble,  moral 
repute,  and  which  take  to  illustrations  more  nat- 
urally than  any  other  two  books  in  the  English 
language. 

The  Grolier  ornamentation,  the  watered-silk 
linings,  the  spotless  leaves,  the  amplitude  of  mar- 
gins, the  clean,  sharp-cut  typography,  the  charm- 
ing and  seductive  manner  in  which  the  skill  of  an 

lector  of  Brooklyn,  the  most  persistent  in  America,  has  for  twenty-five  years 
vainly  sought  for  this  thirteenth  part." 

There  was  also  in  this  collection  Lord  Kingsborough's  "  Antiquities  of 
Mexico"  —  one  of  the  few  with  colored  prints.  It  was  published  at  $875. 
Sold  for  $225. —John  Eliot's  "Tears  of  Repentance,"  London,  1653,  $36.— 
Eliot's  "  Further  Account,"  London,  1655,  $75. —  Eliot's  "  Brief  Narrative," 
London,  1671,  $72.50. —  Baron  Von  Humboldt's  "Cordilleras,"  Paris,  1810, 
$40.—  Marc  Lescarbot's  "  Nouvelle  France,"  Paris,  1618,  $1 10.— "  Londoni," 
1609,  $110. —  Loudon's  "  Indian  Narratives,"  2  vols.,  London,  180S,  $200. — 
Mather's  "  War  with  the  Indians,"  London,  1676,  $100. —  Samuel  Penhallow's 
"Indian  Wars,"  Boston,  1725,  $105.— Daniel  C.  Sanders'  "Indian  Wars," 
Montpelier,Vt.,l8i2,$i02.5o. — John  Smith's  "General  History  of  Virginia," 
London,  1624,  $147.—  Capt.  J.  Smith's  "True Travels,"  London,  1630,  $147.50. 

27 


expert  has  arranged  the  choicest  specimens  in 
India  proof  of  the  engraver's  art,  leaf  succeeding 
leaf  of  the  most  exquisite  portraits  by  Longhi, 
Nanteuil,  Morghen,  Houbraken,  Strange,  and 
Faithorne  must  broaden  the  latitude  of  humanity. 

I  believe  "a  companionship  of  art,  whether  its 
utterance  is  in  sound,  or  in  word,  or  in  form,  is  a 
noble  and  moral  association ;  its  culture  pene- 
trates and  mingles  in  the  very  currents  of  our 
blood." 

And,  notwithstanding  all  this,  I  still  regret  that 
I  must  take  the  circumscribed  path  of  the  special- 
ist, and  turn  my  back  upon  the  broad  road  which 
leads  me  to  the  glorious  uncut  copies  of  Sir  Wil- 
liam Jones,  Wilkinson,  Ferguson,  Brunet,  Purchas, 
De  Bry,  or  the  twenty-seven  gorgeous  volumes 
of  L'Art,  which  rise  up  in  all  their  rough,  half- 
Roxburg  majesty  before  me. 

But  our  mission  here  is  monographic.  We  do 
not  come  as  idolatrous  disciples  of  the  honest  old 
James  Granger,  the  Vicar  of  Shiplake ;  ^  we  have 
been  redeemed  from  "book-madness,"  and  are  in- 
exorable  in    our  resolve  to  buy  no  more    books, 

1  The  first  book  ever  illustrated  was  by  James  Granger.  It  was  Granger's 
"Biographical  History  of  England, from  Egbert  the  Great,"  and  was  first 
published  in  1769 — quarto,  in  2  vols.*     It  has  since  undergone  four  impres- 

*  To  illustrate  this  work,  which  contained  short  and  pithy  notices  of  every  person  in  Eng- 
land who  had  an  engraved  portrait,  became  quite  a  mania,  and  illustrated  Grangers  became 
as  thick  as  blackberries,  and  portraits  became  correspondingly  scarce.  The  next  books 
selected  for  privately  illustrating  were  Clarendon's  "Rebellion,"  Burnet's  "History  oJ 
the  Reformation,"  and  Walpole's  "Royal  and  Noble  Authors." 

28 


even    though   we    die    broken-hearted.     But   hu- 
manity  is  weak  ;   for  — 

Five  hundred  times  at  least,  I've  said, 
My  wife  assures  me,  "  I  would  never 

Buy  more  old  books."     Yet  lists  are  made, 
And  shelves  are  lumbered  more  than  ever. 

Oh,  that  our  wives  could  only  see 
How  well  the  money  is  invested 

In  these  old  books,  which  seem  to  be 
By  them,  alas !  so  much  detested. 

Nearly  fifty  years  ago  I  began  amusing  myself 
with  books  by  adding  an  occasional  print.  Private 
illustrating  was  almost  an  unknown  passion  in  this 
country  at  that  time.  What  I  mean  by  privately 
illustrated  books  is,  books  in  which  prints  are 
inserted  which  do  not  belong  to  the  book,  but 
which  are  pertinent  to  the  subject  treated.  Under 
this  method, 

Sometimes  the  pictures  for  the  page  atone, 
And  the  text  is  saved  by  beauties  not  its  own. 

The  first  book  which  I  attempted  systemati- 
cally to    illustrate  was   Giraud's   "Birds  of  Long 

sions,  the  last  being  in  1804 —  octavo,  in  4  vols.  A  continuation  of  the  same, 
by  Rev.  Mark  Noble,  was  published  in  1807,  in  3  vols.  So  that  if  the  lover  of 
rare  and  curious  prints  gets  possession  of  these  volumes,  with  Ames's  "  Cata- 
logue of  English  Heads,"  1748;  Walpole's  "Catalogue  of  Engravings," 
1775;  Burnley's  "Catalogue  of  Engraved  Portraits,"  1793,  with  Catalogues 
of  the  Collections  of  Mr.  Barnard,  Sir  W.  Musgrave,  Mr.  Tysson,  Sir 
James  Winter  Lake,  and  a  little  work,  "The  Print  Collector"  —  edited  by 
Robert  Hoe,  Jr.,  of  New-York,  1880,  he  has  put  himself  in  the  way  of 
becoming  a  print-collector. 

29 


Island,"  a  work  somewhat  distinguished  for  its 
scientific  accuracy,  to  obtain  materials  for  which 
I  dismembered  the  rare  and  splendid  quarto  vol- 
ume belonging  to  the  "  Natural  History  of  the 
State  of  New- York. "^  For  this  piece  of  vandalism 
I  have  never  forgiven  myself  This  was  my  first 
little  folly.  I  have  committed  many  and  greater 
since;  nor  is  that  man  an  orthodox  collector  or  a 
true  bibliophile  who  has  not  at  some  time  com- 
mitted a  great  and  foolish  extravagance.  There 
are  one  hundred  and  forty-seven  prints  inserted 
in  the  text  of  this  book,  which  is  only  a  common 
octavo,  published  by  Wiley  &  Putnam  in  1844.^ 
It  is  now  very  rare.  Few  persons  in  this  room 
have  ever  seen  it.  But,  however  great  the  folly 
in  destroying  so  valuable  a  book  for  so  insignifi- 
cant a  one,  the  knowledge  incidentally  acquired 
in  the  science  of  ornithology  while  engaged  upon 
it  was  most  thorough,  and  was,  maybe,  a  full,  or 
more  than  a  full,  compensation  for  the  mischief 
otherwise  done.  I  have  never  been  proud  of  the 
book,  and  seldom  show  it ;  for  no  man  of  culture, 
especially  if  he  be  a  naturalist,  fails  to  reprove  me 

1  "  Natural  History  of  the  State  of  New-York."  Published  by  the  author- 
ity of  the  State,  viz. :  "Zoology,  Mammalia,  Ornithology,  Reptiles,  Fishes, 
Mollusca,  and  Crustacea,"  by  J.  deKay;  "Botany,"  by  Torrey;  "Min- 
eralogy," by  L.  C.  Beck;  "Geology,"  by  Wm.  W.  Mather  and  E.  Em- 
mons; "Paleontology,"  by  J.  Hall;  "Agriculture,"  by  E.  Emmons. 
Together  20  vols,  royal  4to,  with  upward  of  800  plates.  New-York,  1842. 
Published  at  $200. 

2"The  Birds  of  Long  Island."     J.  P.  Giraud.     8vo.     New-York,  1844. 

30 


for  this  act — so  similar  to  that  of  the  foolish  old 
lady  who  cut  up  a  new  garment  to  mend  an  old 
one.  And  I  have  no  doubt  some  who  have  seen 
it,  and  whose  excessive  good  breeding  restrained 
them  from  outward  demonstration,  have  inwardly- 
applied  to  me  the  words  of  Sir  Isaac  Newton  to 
his  little  dog  Diamond,  which,  during  his  absence 
from  his  study,  threw  down  a  lighted  candle 
among  his  papers  and  destroyed  the  labor  of 
years  of  the  great  philosopher:  "O  Diamond! 
Diamond !  thou  little  knowest  the  mischief  thou 
hast  done." 

My  last  book,  and  which  is  still  unfinished,  is  a 
large-paper  copy  of  Dr.  Henry  R.  Stiles's  "History 
of  the  City  of  Brooklyn."  It  was  commenced  thirty 
years  ago.  I  have  illustrated  many  in  the  mean 
time.  A  great  number  of  the  prints  were  collected 
before  the  work  issued  from  the  press.  Although 
elegance  has  by  no  means  been  neglected  in  the  en- 
semble of  this  book,  beauty  was  not  the  great  prime 
object  in  view,  but  the  preservation  of  perishable  and 
perishing  material  of  value  relating  to  the  city  of 
Brooklyn.  I  have  added  to  the  original  work  about 
two  thousand  three  hundred  pages  of  various  kinds 
of  matter  and  decorations,  mostly  portraits  and 
prints  of  old  historical  landmarks.  There  are  seven 
hundred  and  eighty  prints,  two  hundred  and  sixty 
pages  of  new  matter  in  manuscript,  sixty  photo- 

31 


graphs,  fifty-one  old  maps  (some  of  them  unique), 
twenty-two  original  sketches  and  water-colors, 
besides  original  letters,  etc.  The  original  three 
volumes  have  been  extended  thus  far  to  nine.  The 
cost  of  the  work  up  to  the  present  cannot  be  much 
under  two  thousand  dollars,  and  an  approximation 
to  the  number  of  shekels  it  would  take  to  ransom 
it  under  the  methods  of  Bangs,  Merwin  &  Co., 
providing  there  is  no  greater  public  appreciation 
of  my  labor  than  of  Dr.  Henry  R.  Stiles's  in  its  ori- 
ginal production,  would  be  about  one  twentieth  of 
the  cost  in  labor  and  money  which  have  been  be- 
stowed upon  it.  During  this  interval  —  thirty-odd 
years  from  the  production  of  my  first  illustrated 
book  and  the  present — I  have  done  more  or  less 
illustrating,  probably  sixty  works  in  all,  or  about 
one  hundred  and  twenty  volumes,  although  a  cata- 
logue of  the  books  in  my  library  which  have  more 
or  less  undergone  this  process  of  mutilation  would 
possibly  exceed  three  hundred. 

If  I  may  be  permitted,  without  taxing  your  pa- 
tience too  much  with  personal  relations,  I  should 
say  that  my  love  of  books  was  divided  between  the 
mere  love  of  having  them  and  the  love  of  using 
them ;  hence  my  passion  for  illustrated  books 
(which,  as  a  general  thing,  are  useless  for  study) 
took  such  direction  as  led  to  making  them  of  more 
actual  service,  and  more  cyclopedic  in  their  char- 

32 


acter  ;  consequently  my  love  passed,  by  gradations, 
out  of  the  purely  artistic  into  the  scientific.-^ 

The  love  of  book-illustrating  is  an  absorbing, 
fervid  passion,  indigenous  to  high  emotional  tem- 
peratures, and  hence  cannot  thrive  in  the  bleak  and 
nipping  atmosphere  of  science.  It  required  too 
much  artificial  warmth,  too  much  hothouse  nur- 
ture, for  healthy  progress  under  my  amateur  meth- 
ods in  science;  and,  finally,  it  died  out  altogether. 
It  may  not  be  uninteresting  to  mention  a  few  ex- 
amples in  this  department,  marking  the  stages  of 
decline  and  surrender  of  the  love  for  art  to  science; 
a  capitulation  of  Diirer,  Rembrandt,  Hollar,  Stoth- 
ard,  and  Durand,  to  Darwin,  Huxley,  Tyndall, 
Wallace,  Comte,  and  Spencer. 

Among  the  books  illustrated  by  me,  which  mark 
the  decline  —  the  transition  —  are  Thomas  Joseph 
Pettigrew's  "History  of  the  Egyptian  Mummy," 
large  paper:  this  is  a  large  quarto,  and  an  admir- 
able book;  "Ancient  Symbol  Worship,"  "Phallic 
Idea  in  the  Religion  of  Antiquity,"  a  rare  and  ex- 
pensive work  ;  Thomas  Taylor's  "  Eleusinian  and 

1  It  has  been  my  custom  for  over  forty  years  to  insert  articles,  from 
magazines  and  newspapers,  pertinent  to  the  subjects,  in  my  books  for 
use ;  many  of  them  are  so  full  as  nearly  to  burst  their  covers,  and  some  I  have 
been  obliged  to  have  rebound  to  save  them.  There  have  been  added  in  this  man- 
ner to  my  working  library  probably  thirty  thousand  articles,  varying  from  a 
few  lines  to  twenty  pages.  I  commend  this  practice  to  students.  Many  of 
these  articles  have  been  inlaid  up  to  the  size  of  the  book  for  which  they  were 
intended,  and  bound  up  with  it,  and  I  have  a  number  of  volumes  made  en- 
tirely in  this  manner. 

33 


Bacchic  Mysteries,"  illustrated  by  a  few  prints, 
all  proof;  Prof  E.  G.  Squier's  "  Serpent  Symbol 
in  America,"  octavo,  a  very  scarce  book,  and  indul- 
gently illustrated  ;  Dr.  Paul  Felix  Cabrera's  "Ruins 
of  an  Ancient  City  near  Palenque,  Central  Amer- 
ica"; Thomas  H.  Dyer's  "Pompeii,"  illustrated 
entirely  with  photographs  taken  under  my  own 
direction,  quarto.  Every  one  of  these  books  was 
illustrated  for  the  purpose  of  enhancing  its  use- 
fulness, and  not,  of  course,  entirely  without  reference 
to  artistic  structure.  Few  indeed,  however,  among 
book-illustrators  are  in  sympathy  with  me  on  the 
latter  subjects.  There  is  among  illustrators  a 
strong  prejudice  against  photographs,  and  they 
certainly  are  not  the  most  desirable  illustrations 
for  books,  for  the  reasons  —  first,  their  liability  to 
fade;  secondly,  they  are  not  works  of  art.  But 
when  faithful  representation  is  the  great  object  to 
be  attained,  the  photograph  is  invaluable.  This 
book  of  Dyer  was  illustrated  twenty-six  years  ago, 
with  photographs  taken  by  a  Neapolitan  operator, 
and  inlaid  through  a  special  and  ingenious  process 
by  Toedteberg.  They  are  as  fresh  and  sharp  to- 
day as  when  first  inserted  in  the  book,  and  are  as 
pliable  as  the  ordinary  page.  And  this  is  also  true 
of  several  books  in  my  collection,  illustrated  entirely 
with  photographs   taken   in   Europe.^     Under    no 

i  I  also  have  the  London  edition  of  "  Infelicia,"  poems  by  Adah  Isaacs 
Menken,  1868,  with  head-  and  tail-pieces,  and  a  dedication  by  Dickens.  The 

34 


consideration  do  I  think  it  desirable,  however,  to 
ilkistrate  the  same  book  with  a  mixture  of  engrav- 
ings and  photographs.  Nor  do  I  deem  it  the  high- 
est taste  to  illustrate  the  same  book  with  engravings, 
drawings,  and  original  sketches,  unless  it  be  as 
specimens  of  work  from  the  hands  of  the  same  artist. 
The  most  elegant  books  are  those  uniformly  illus- 
trated in  the  same  style  of  art. 

And  now  having  finished  our  chapter  of  egoisms, 
we  will  pass  on  to  ilhistrated  books,  illuminated 
palaces,  and  the  methods  of  their  construction. 
There  are  no  general  rules,  no  formulas,  no  beaten 
paths  in  this  department  of  art  —  taste  and  genius 
are  its  only  guides. 

Suppose  we  are  in  possession  of  a  book  privately 
printed,  the  edition  being  limited  to  one  hundred 
and  fifty,  an  octavo  printed  on  Holland  paper,  and 
unbound,  in  sheets.  It  is  a  sketch  of  the  life  of  Ed- 
ward Everett.*  Before  sending  to  the  binder,  it 
occurs  to  us  that  it  would  be  interesting  and  en- 
hance its  value  to  have  a  faithful  portrait  of  Edward 
Everett  as  a  frontispiece, — a  contribution  from  our 
own  hands, —  a  testimonial  of  our  regard  for  this 
accomplished  gentleman  and  scholar.  To  corn- 
size  of  the  book  is  five  and  a  quarter  inches  by  four.  It  is  illustrated  by 
thirty-eight  portraits  of  the  authoress  in  photograph,  by  Sarony,  taken  in  Paris ; 
they  are  inlaid  by  the  above  process,  and  are  but  little  thicker  than  the  ordi- 
nary page ;  they  lie  as  smoothly  as  the  other  pages  of  the  book  ;  they  show  no 
signs  of  fading,  although  they  were  inserted  there  twenty-five  years  ago. 

1 "  Tribute  to  the  Memory  of  Edward  Everett,"  by  The  New  England  His- 
toric-Genealogical Society,  at  Boston,  Massachusetts.     Boston,  1865. 

35 


memorate  the  illustrious  and  venerated  dead  has 
been  a  practice  of  all  ages,  all  countries,  and  almost 
every  grade  of  the  human  race.  The  vast  pyra- 
mids of  Egypt  and  America,  the  tumuli  of  the 
Greek  and  Celtic  nations,  the  colossal  statues  of 
the  Polynesian  Islands,  the  cenotaphs  to  heroes, 
the  bust,  the  sepulchral  monument,  and  the  portrait 
are  so  many  evidences  of  the  affectionate  sympa- 
thies of  the  human  heart.  After  a  little  search  in 
print-stores  we  find  a  portrait,  a  head  and  bust 
(very  good),  engraved  by  Cheney.  It  does  not, 
however,  stand  the  test  of  our  criticism,  and  we 
determine  upon  further  search  for  another.  We 
finally  obtain  one  by  Parker,  and  another  by  Jack- 
man.  We  are  by  this  time  becoming  interested  in 
the  pursuit,  and  beginning  to  feel  that  we  are  no 
longer  amateurs  in  our  knowledge  of  engravers  and 
their  works. -^  We  continue  our  search,  and  find 
another  portrait  by  Pelton  (a  poor  one) ;  then  an- 
other by  Smith  —  the  last  a  folio;  then  another 
fine  impression  of  a  beautiful  unfinished  portrait  of 

1  Mr.  J.  O.  Wright,  of  New-York,  who  has  had  a  vast  experience  in  prints, 
says  :  "  I  commenced  collecting  prints  twenty-five  years  ago,  when  books  now 
valuable  for  their  frontispieces  only  were  daily  thrown  into  the  waste-paper 
well  for  peddlers  to  buy  at  a  few  cents  per  pound.  I  have  given  away  scores 
of  portraits  that  cost  me  a  penny  only,  but  which  are  now  worth  from  five  to 
ten  dollars  each.  The  difference  between  1S63  and  1891  cannot  be  better 
marked  than  by  the  quotation  at  the  earlier  date  of  2/6  for  the  first  edition  of 
'  Milton's  History  of  Britain  '  with  the  Faithorne  portrait,  the  print  alone  now 
being  worth  $10.  Those  were  days  when  Knight's  portraits  on  India  paper 
sold  for  $20,  the  Earlom  and  Turner  mezzotints  for  $10,  effigies  poeticse  on  In- 
dia paper  $15,  and  the  smaller  mezzotint  portraits  not  considered  cheap  at  25 

36 


Edward  Everett  in  his  youth,  by  Gilbert  C.  Stuart. 
So  we  go  on  getting  prints  and  acquiring  know- 
ledge of  engravings  and  engravers,  developing  un- 
consciously an  enthusiasm  for  our  work,  until  we 
have  twenty-seven  engraved  portraits  of  Edward 
Everett,  illustrating  his  life  from  the  age  of  sixteen 
to  sixty.  At  this  stage  of  our  work  an  old-print 
collector  calls  upon  us,  and  politely  allows  us  to  look 
over  his  small  collection.  Fortuitously,  we  find  a 
print  of  the  birthplace  of  Everett,  and  also  one  of 
his  library ;  these,  of  course,  we  must  have.  We 
also  find  one  of  his  uncle,  T.  H.  Perkins,  and  a  few 
of  his  contemporaneous  literary  friends,  all  men- 
tioned in  the  text  of  our  book ;  of  course  we  want 
them,  and  we  buy  them.  Our  collection  has  now 
reached  seventy -five  prints  in  all,  and  has  cost  us  about 
twenty-five  dollars — an  enormous  sum  for  one  book. 
This  was  our  first  experience,  and  not  being  familiar 
with  the  perspective  of  the  subject,  we  begin  to  sus- 
pect that  ruin  lurks  in  this  book-illustrating,  and  we 
resolve  upon  carrying  the  folly  no  further.      In  an- 

cents  each.  If  book-illustration  has  done  nothing  else,  it  has  indirectly  preserved 
thousands  of  volumes  from  the  pulp-mill,  and  to-day,  when  only  process  prints 
are  used  by  the  publishers,  millions  of  engravings  owe  their  survival  to  indi- 
viduals who  have  been  classed  as  fiends,  iconoclasts,  etc.  Call  it  personal 
gratification,  or  what  you  will,  the  fact  remains ;  and  the  early  so-called  gran- 
gerites,  apparently  devoid  of  taste,  pitchforking  prints  into  folios  badly 
mounted,  sometimes  mutilated,  have  done  posterity  much  service.  We  may 
destroy  their  labor  by  breaking  up  such  poor  work,  but,  properly  inlaid  and 
fitly  placed,  the  gems  are  once  more  preserved  to  amuse  or  instruct  genera- 
tions, who  will  be  honest  enough  to  look  on  the  pursuit  as  something  more 
than  a  weakness  or  hobby." 

37 


other  week,  however,  we  have  fairly  recovered  from 
the  last  extravagance,  and,  with  the  old  passion  re- 
vived and  recruited,  we  enter  more  extensively  the 
field  of  contemporaneous  literary  friends,  poets,  and 
compatriots  of  our  hero,  and  of  persons  mentioned 
and  referred  to  in  our  book.     Thus  we  go  on,  alter- 
nating between  this  alluring  mania  and  our  good 
resolves,  until  we  have  collected  nearly  five  hundred 
prints,  at  an  expense  probably  of  one  hundred  and 
eighty  dollars,  many  of  which  prints  are  too  large, 
others  too  small,  for  our  book.     To  reduce  the  first 
is  a  simple  process  ;  to  extend  the  latter  is  our  first 
real  difficulty,  but  it  must  be  overcome  —  they  must 
all  be  brought  to  a  uniform  size  with  our  book.     For 
this  service  we  call  to  our  aid  the  professional  man 
—  the  inlayer  —  of  whom  there  are  but  a  few  in  this 
country  worthy  of  mention  —  Messrs.  Trent,  Toed- 
teberg,  and  Lawrence,  all  of  Brooklyn,  and  Poole 
of  Boston.     The  work  turned  out  by  these  gentle- 
men is  of  the  first  order,  far  superior  to  that  of  the 
best  English  and  French  inlayers.     We  call  upon 
one  of  these  gentlemen  with  our  prints,  and  lay  our 
plans  before  him.      He  being  busy,  we  are  advised 
to  call  again  ;   in  the  mean  time  he  will  look  over  our 
collection,  and  determine  the  best  course  for  us  to 
pursue.    We  call  again ;  and  out  of  our  five  hundred 
prints  he  has  discarded  three  hundred  as  not  ot 
sufficient  pertinency  or  worth  as  works  of  art  to  en- 

38 


hance  either  the  beauty  or  value  of  our  enterprise. 
Concurrence  is  the  only  thing  left  us,  and  more  than 
half  our  purchase  is  thrown  out.  We  now  begin  to 
realize  that  we  have  paid  dearly  for  our  "  whistle  "  ; 
but  even  whistles  have  a  market  value  in  experi- 
ential education.  Two  years  more  in  the  business, 
and  we  defer  to  the  opinion  of  no  man.  We  have 
outgrown  the  folly  of  purchasing  prints  because  they 
are  portraits.  That  delusion  has  faded,  and  we 
have  awakened  to  the  consciousness  that  we  are 
collecting  portraits  because  they  are  prints.  He  also 
advises  us  that  it  would  not  be  in  good  taste  to  cut 
the  large  prints  down  to  the  size  of  the  book,  but 
that  it  would  be  better,  leaf  by  leaf,  to  build  the  book 
up.  There  are  some  woodcuts  of  superior  quality 
in  the  collection,  taken  from  illustrated  papers,  mag- 
azines, etc.,  which  it  would  be  desirable  to  preserve; 
but  they  have  printed  matter  on  the  back,  render- 
ing them  inadmissible  in  their  present  state.  He 
informs  us  that  he  is  acquainted  with  a  process  by 
which  he  can  split  the  sheets  of  newspaper,  and  take 
the  print  (text)  from  the  back.  Again,  some  of  our 
prints  are  "foxed" — that  is,  spotted,  soiled  —  and 
must  be  cleaned  to  make  first-class  work ;  all  of 
which  we  conclude  to  have  done,  and  which  entails 
an  expense  of  about  ninety  dollars. 

The  process  mentioned  of  inlaying  the  text  and 
prints  may  be  briefly  described  as  follows  :    First  is 

39 


the  selection  of  paper  of  the  proper  quahty,  and  the 
size  to  which  our  book  is  to  be  extended.  The 
leaves  of  the  book  being  of  uniform  size,  the  inlay- 
ing of  it  (that  is,  the  text)  is,  of  course,  a  simple 
repetition  of  the  operation  as  many  times  as  there 
are  leaves  in  the  volume.  Not  so,  however,  with 
the  prints  ;  no  two  are  probably  of  the  same  size 
or  shape  —  square,  oblong,  round,  oval,  and  some 
irregular ;  thus  every  print  requires  its  especial 
treatment.  After  the  prints  have  been  neatly  cut 
down  to  their  required  shapes,  then  the  outer  edges 
are  beveled,  the  bevel  extending  about  one  quarter 
of  an  inch  upon  the  margin  of  the  print.  This  is 
performed  with  a  knife  made  for  the  purpose.  An 
opening  is  then  cut  into  the  sheet  of  the  size  and 
shape  of  the  print,  making  an  allowance  for  a 
quarter  of  an  inch  lap  on  the  inside,  which  is  also 
beveled  to  conform  with  the  print.  These  outer 
edges  are  then  fastened  together  with  paste  made 
of  rice  flour.  Rice  paste  is  considered  more  desir- 
able  for  the  reason  that  it  retains  its  whiteness  when 
dry.  They  are  then  placed  under  gentle  pressure 
uRtil  required  for  use.  The  splitting  process  is 
performed  by  pasting  the  sheet  to  be  split  between 
two  pieces  of  stuff,  and  in  separating  the  stuffs  one 
half  adheres  to  each  side. 

In  about  six  weeks  we  receive  our    book   and 
prints,  built  up,   extended,  inlaid,   or   cut  down  to 

40 


a  uniform  large  quarto.  Nothing  can  exceed  its 
beauty;  to  say  that  we  are  proud  of  it  does  in  no 
sense  express  our  emotion  ;  it  is  our  realization  of 
a  grand  ideal.  Our  prints  must  now  be  placed  to 
the  text,  and  numbered  or  paged,  to  guard  against 
displacement  in  the  binding  process.  Here,  so  far 
as  possible,  it  would  be  well  to  observe  chronologi- 
cal order  in  the  arrangement  of  the  portraits ;  a 
harmony  as  to  seasons  of  the  text  —  and  views  must 
not  be  disregarded —  a  summer  view  and  a  winter 
text  are  incongruous.  It  is  also  preferable  to  use 
prints  which  were  engraved  contemporaneously 
with  the  events  of  the  text;  it  gives  additional  in- 
terest, as  well  as  historic  value.  These  observations 
apply  to  books  like  our  "  Everett,"  illustrated  en- 
tirely by  portraits  and  views  already  extant,  and 
which  have  only  to  be  selected  —  the  proper  histori- 
cal arrangement  and  disposal  of  which,  however, 
require  no  ordinary  skill  in  even  the  simplest  book. 
Having  now  collated  our  prints  and  text,  we  dis- 
cover that  we  have  too  much  material  for  one  vol- 
ume, and  we  determine  upon  having  it  bound  in 
two.  To  this  end  a  new  title-page  becomes  neces- 
sary for  the  additional  volume.  This  can  either 
be  printed  in  facsimile,  or  made  with  a  pen  and 
ink  by  an  expert.  Of  this  class  of  experts  my 
acquaintance  is  limited  to  one  representative  only 
—  Mr.  Charles  B.  King  of  New- York  —  who  will 

41 


duplicate  a  title-page  or  copy  text  with  unerring 
exactness.  Obtaining  our  title-page,  our  book  is 
complete  and  ready  for  the  binder. 

And  now,  notwithstanding  we  have  just  cause  to 
be  proud  of  our  accomplishment,  let  us  not  suffer 
the  notion  to  run  away  with  us  that  we  have  mas- 
tered the  science  of  book-illustrating.  All  that 
we  have  accomplished  is  merely  elementary — the 
A,  B,  C  of  the  art,  a  stattis  pupillm^i — and  yet  I 
believe  the  higher  attainments  are  never  properly 
acquired  except  through  these  smaller  beginnings. 
Gentlemen  with  unlimited  means  within  their  con- 
trol have  confessed  to  me  that  their  mistake  was  in 
commencing  with  Shakspere,  Boswell's  "Johnson," 
Dibdin,  or  Walton,  before  they  had  mastered  the 
elements.  "  Learn  to  swim,"  said  Pepys,  "  in  shal- 
low water."  There  are  no  oraduates  and  no  de- 
grees  conferred  in  this  school;  the  field  is  as  broad 
and  boundless  as  contemporary  art  and  literature. 
There  are  books  —  proper  books  for  illustrating  — 
which  require  the  illustrator  who  has  the  boldness 
to  enter  the  realms  of  original  sketches  and  draw- 
ings to  comprehend  the  exploits  of  chivalry,  the 
fairy  legend,  the  solemn  allegory,  or  the  science  of 
antiquarian  research,  not  less  than  the  author  him- 
self. He  must  have  all  the  tenderness  of  Walton, 
the  patriotism  of  Washington,  brave  the  tempest 
with  King  Lear,  laugh  with  Cervantes  or  Rabelais, 

42 


grieve  with  Thomas  a  Kempis  or  Jeremy  Taylor, 
toil  up  the  hill  of  science  with  Newton,  Herschel, 
Leibnitz,  Draper,  Proctor,  and  Lubbock  —  in  other 
words,  he  must  have  a  love  for  his  work,  without 
which  it  cannot  rise  above  a  mere  pretense,  a  pic- 
ture-book, a  soulless  mechanism.  And  even  with 
books  in  which  we  do  not  attempt  to  illustrate  these 
sentiments  or  emotions,  they  must  be  felt  and  ap- 
preciated, that  we  may  avoid  the  violence  which, 
through  ignorance,  we  might  otherwise  commit. 

But  our  "Everett"  must  go  to  the  binder,  in 
the  selection  of  whom  care  must  be  observed  ;  for 
every  bookbinder  has  an  individuality  and  a  method 
not  consistent  with  all  classes  of  work  nor  with  all 
tastes.  Nevertheless,  a  first-class  bookbinder  is 
more  than  a  mechanic — he  is  an  artist ;  and  there 
are  men  who  have  immortalized^  themselves  in 
the  bibliopegic  art,  as  Payne,  Dawson,  Hering, 
Faulkner,  Mackinlay,  Lewis,  Bedford,  Riviere,  and 
Zaehnsdorf  in  England,  and  Derome,  Bradel,  Nie- 
dree,  Duru,  Cape,  Lortic,  Nodier,  Koehler,  and 
Bauzonnet  in  France  f  and  we  have  some  in  Amer- 

1  At  a  recent  sale  in  London,  a  book  bound  by  Roger  Payne  sold  for  over 
$600,  mainly  on  account  of  the  binding.  The  copy  of  ^schylus  in  the  library 
of  Earl  Spencer  was  bound  by  him,  and  the  earl  paid  for  it  £16  los.  Payne 
could  earn  with  his  nondescript  tools  in  his  dingy  cellar  10  guineas  in  a  few 
days ;  but  in  twenty  years  of  his  besotted  career  he  did  not  lay  up  enough 
to  purchase  a  coffin  for  his  haggard  remains.  He  died  a  pauper,  and  was 
buried  by  the  parish. 

2  George  Trautz  was  born  at  Pforzheim  in  1808.  He  went  to  Paris  in 
1830.     In  1833  he  entered  as  a  gilder  in  the  bookbinding  establishment  of 

43 


ica,  as  Matthews,  Bradstreet,  Smith,  Macdonald,  and 
Pawson  &  Nicholson.  Not  all  the  violence  of  Rem- 
brandt, Hayden,  or  Claude,  in  light  and  shadow, 
excels  in  effect,  at  first  blush,  some  of  the  marvel- 
ous creations  in  the  art  of  bookbinding  and  book- 
decoration;  and  there  was  a  period  in  Europe 
during  which  the  rage  for  fine  bindings  reached  a 
greater  pitch  of  absurdity  than  it  ever  has  for 
books  or  paintings  —  that  is,  they  were  held  at  and 
fetched  more  fabulous  prices.^ 

Bauzonnet.  From  the  first  Trautz  brought  the  work  of  his  master  into  promi- 
nence by  the  taste  and  richness  of  its  ornamentation.  In  1869  he  was  created 
a  knight  of  the  Legion  of  Honor,  being  the  first  binder  who  has  attained  to 
that  distinction.     He  died  November  6,  1879,  aged  72  years. 

IThe  finest  specimen  of  bibliopegy  of  the  eighteenth  century,  the  master- 
piece of  Derome,  is  a  copy  of  the  Contes  de  La  Fontaine  (1762,  2  volumes, 
8vo,  bound  in  citron  morocco,  witli  compartments  in  colors,  representing 
fruits  and  flowers).  For  this  copy  M.  Brunei  paid  frs.675  at  the  Bedoyere 
sale.  It  was  bought  for  frs.7100  at  his  own  sale,  by  Augustus  Fontaine. 
A  Bordeaux  book-collector  gave  frs.  10,000  for  it,  and  afterward  sold  it  to 
an  American  banker.  It  was  sent  to  auction  a  little  while  after,  and  sold  for 
frs.  13,000.     We  shall  hear  from  it  again. 

I  will  give  a  few  examples  of  the  prices  realized  for  books  at  the  Brunet, 
Didot,  and  other  French  sales,  in  1878  —  thanks  to  their  bindings. 

"  Biblia  Lutetise"  (1545,2  volumes,  8vo),  frs.3aoo,  bound  by  Lortic.  It 
brought  frs.  79  at  a  subsequent  sale,  in  plain  garments. 

"  Xenophontis  Opera  "  (H.  Siephanus,  1581,  folio,  in  beautiful  old  binding, 
fetched  frs. 6000.     It  has  little  or  no  value  in  ordinary  condition. 

The  "  Sainte  Bible  "  (1707,  8  volumes,  small  i2mo,  bound  by  Padeloup  in 
citron  and  green  morocco)  fetched  frs. 2050;  another  copy,  bound  by  the 
same,  frs, 2700;   while  a  plainly  bound  copy  sold  for  frs. 550. 

"  Hors  Beatiss  Uirginis  "  (small  8vo,  Aldus,  1497,  in  a  handsome  binding 
by  Trautz-Bauzonnet),  frs. 3000. 

Montaigne — "  Essais  "  (Paris,  1588,  8vo,  bound  in  morocco  by  Du  Seuil), 
frs.4000. 

At  the  Turner  sale,  1878,  the"  New  Testament  of  Migeot"  (1667, 2  volumes, 
bound  by  Boyet),  frs.  1430. 

"  Moli^re  —  Qiuvres  "  (Paris,  1666,2  volumes,  bound  by  Trautz-Bauzon- 
net), frs.  6000. 

44 


Nor  are  bookbinders  always  indifferent  to  the 
contents  of  the  books  which  they  bind.  A  few 
years  ago  I  sent  a  privately  illustrated  book  to 
William  or  Robert  W.  Smith  (I  have  now  forgotten 
which)  for  binding,  into  which  I  had  inserted, 
among  many  others,  a  portrait  of  Sam  Johnson. 
The  text  called  for  Sam  Johnson,  an  eccentric  dra- 
matic writer,  born  in  Cheshire  in  1705.  But,  re- 
lying entirely  upon  the  index  of  the  book,  and 
being    ignorant    of  this  Cheshire  Sam,  I  had  in- 

The  "  Controverses  des  Sexes  Masculin  et  Feminin  "  (Toulouse,  1543,  bound 
by  Niedree),  frs.  1500. 

"Les  Fais  et  Prouesses  du  Chevalier  Jason,"  bound  by  Raoul  Lefevre, 
frs.  7600. 

"  Le  Livre  Appele  Mandeville  "  (Lyon  Buyer,  1480,  bound  by  Thibaron), 
frs. 6200,  at  the  Turner  sale,  1878. 

"  Monstrelet  "  (Paris,  A.  Verard,  no  date,  2  volumes,  bound  by  Lortic),  frs. 
30,500.     The  same  work,  in  vellum,  at  the  MacCarthy  sale  in  181 7,  for  $300. 

The  "  Roman  de  la  Rose  "  (small  folio,  without  date  ;  in  morocco,  by  Cape), 
frs.  1650.  Same  (in  handsome  binding  by  Trautz-Bauzonnet),  frs. 5500. 
Same  (Paris,  sumptuously  bound  by  Lortic),  frs. 8000.  The  highest  price 
it  was  ever  known  to  fetch  prior  to  1830  was  ^30  gs. 

"Lestrifde  Fortune  "  (1477,  bound  by  Chambolle  Duru),  frs. 21, 500.— 
Bibliomania  at  the  Present  Day  in  France  and  England.  J.  W.  Bojiton, 
18S0. 

In  the  South  Kensington  Museum  there  is  a  fine  collection  of  rubbings 
from  ancient  bookbindings  presented  to  the  Art  Library  by  Mr.  H.  S.  Rich- 
ardson. In  the  Prince  Consort  Gallery  is  a  small  book-cover — probably 
used  for  a  missal  —  of  gold,  with  translucent  enamels,  representing  the  crea- 
tion of  Eve,  etc.,  which  is  said  to  have  been  the  property  of  Queen  Henri- 
etta Maria.  The  price  paid  for  this  beautiful  specimen  of  goldsmith  work 
was  %l^oo.  —  Cnndall  on  Bookbindings  (18S1 :  London). 

In  1872,  M.  Chambolle  Duru  brought  an  action  in  the  Paris  court  against 
Count  de  Montbrison,  to  compel  the  payment  of  the  following  bill :  Of  $480 
for  binding  a  copy  of"  Oiuvres  de  Bernard  de  Palissy,"  in  a  single  volume; 
$280  for  "  Les  Faiences  de  Henri  II.,"  also  in  one  volume.  The  count  thought 
the  sum  excessive,  and  refused  to  pay.  The  judges  appointed  Trautz-Bau- 
zonnet to  examine  the  work  and  give  his  opinion.  He  reported,  "  I  think 
the  charge  for  this  labor,  both  manual  and  intellectual,  very  moderate.     I 

45 


serted  the  portrait  of  our  Sam  Johnson,  the  lexi- 
cographer, of  Lichfield,  born  in  1 709.  This  was 
an  unpardonable  blunder.  In  a  few  weeks,  how- 
ever, I  received  a  parcel  containing  the  portrait 
and  a  note  from  Mr.  Smith  announcing,  in  an  ex- 

vvould  not  myself  undertake  to  do  it  for  the  price."  The  tribunal  gave  a  ver- 
dict for  the  plaintiff  of  $760. 

A  curious  trial  has  lately  been  held  (1874)  at  the  Tribunal  de  Commerce 
de  la  Seine,  relative  to  an  Aldine  Horace.  M.  Gromier,  a  bookseller  of 
Bourg  (Ain),  purchased  in  a  sale  with  some  other  books,  which  he  bought  for 
a  trifle,  an  Aldine  Horace,  dated  1509.  He  placed  it  in  a  book-cover  of 
Grolier,  which  had  adorned  another  work,  and  priced  it  in  his  catalogue  at 
frs.500.  It  was  purchased  by  the  Comte  de  Jonage.  M.  Bachelin-Deflo- 
renne,  the  well-known  buyer  of  old  and  curious  books,  applied  for  it  to  M. 
Gromier,  who  referred  him  to  the  Comte  de  Jonage.  The  last  expressed  his 
willingness  to  part  with  it  at  the  price  of  frs.  2200,  and  sent  M.  Bachelin- 
Deflorenne,  at  the  same  time,  a  designation  of  the  book,  setting  forth  that  it 
was  a  Horace  of  Aldus,  dated  1509,  in  a  Grolier  binding  of  red  morocco, 
with  his  customary  inscription  —  "Johannis  Grolieri  et  Amicorum."  On  re- 
ceipt of  this  description,  the  bargain  was  concluded;  but  when  it  was  once  in 
his  possession,  M.  Bachelin-Deflorenne  declared  that  his  employers  refused 
to  accept  the  volume ;  that,  although  the  book  was  edited  by  Aldus,  it  was 
not  in  a  Grolier  binding  made  expressly  for  Grolier,  and  that  the  book  had 
never  belonged  to  Grolier.  The  Comte  de  Jonage  persisted  in  his  demand 
to  be  paid  the  frs. 2200,  declaring  that  he  had  concealed  nothing  from  his 
purchaser;  that  the  description  which  he  had  sent  M.  Bachelin-Deflorenne 
was  perfectly  correct ;  that  the  Horace  edited  by  Aldus  in  1509  was  in  a 
Grolier  binding,  and  that  he  had  only  guaranteed  the  date  of  the  edition  and 
the  authenticity  of  the  binding,  and  that  M.  Bachelin-Deflorenne,  an  "  ex- 
pert "  himself,  must  have  well  known,  from  Leroux  De  Lincy's  catalogue  of 
the  Grolier  library,  that  the  only  edition  of  Horace  which  belonged  to 
Grolier  was  of  the  date  of  1527,  and  not  1509.  It  was  in  vain  that  M.  Bach- 
elin-Deflorenne pleaded  it  was  not  likely  he  should  have  given  the  Comte 
de  Jonage  frs. 2200  for  a  made-up  volume,  for  which  it  appeared  the  count 
had  paid  only  frs. 200.  The  tribunal  gave  the  following  judgment :  "That 
the  book  answers  the  description  furnished  by  the  Comte  de  Jonage,  upon 
which  the  bargain  was  concluded,  and  that  if  the  defendant  pretends  that  he 
should  have  had  a  book  with  the  text  of  1509  and  primitive  binding,  the  er- 
ror is  his.  In  his  profession  of  bookseller  —  and  especially  of  old  books  — 
he  should  have  known  that  the  only  edition  of  Horace  that  belonged  to 
Grolier  was  that  of  1527;  that,  as  the  parties  had  agreed  upon  the  price,  the 
sale  was  good;  and  that,  consequently,  the  defendant  is  sentenced  to  pay  the 
frs. 2200  claimed,  with  interest  and  costs  of  suit." — American  Bibliopolist. 

46 


uberance  of  good-natured  sarcasm,  that  I  was 
"probably  as  ignorant  of  the  fact  that  there  were 
two  Sam    Johnsons    as    that    this  was  the  wrong 


one.   ^ 


The  most  grievous  of  all  the  evils  which  we  are 
called  upon  to  endure  at  the  hands  of  the  book- 
binder is  the  great  length  of  time  he  requires  in 
which  to  complete  his  work,  and  his  perfect  un- 
concern at  all  our  solicitations  for  expedition. 
Should  we  send  our  book  to  Bradstreet,  we  may 
depend  upon  it  being  returned  to  us  in  about  two 
months.  If  to  Pawson  &  Nicholson,  Philadelphia, 
three  months.  If  to  Robert  W.  Smith,  New-York, 
or  Macdonald,  Boston,  four  months.  If  to  Mat- 
thews, never  ! 

The  cost  of  binding  our  book  in  full  crushed 
levant  —  and  it  can  make  a  stately  appearance  in 
full  dress  only — will  be  about  thirty-five  dollars 
per  volume,  or  seventy  dollars  for  the  two.'^ 

Now,  when  we  come  to  foot  up,  we  find  that, 

1  How  gratifying  this  vigilance  of  the  modern  binder,  amid  the  indignities 
perpetrated  upon  bootcs  in  former  times  —  an  early  black-letter  fifteenth 
century  quarto  on  Knighthood  labeled"  Tracts,"  or  a  translation  of  Virgil 
"Sermons."  The  Histories  of  Troy,  printed  by  Caxton,  still  exists,  with 
"  Eracles  "  on  the  back  as  its  title.  The  words  "  Miscellaneous  "  and  "  Old 
Pieces  "  cover  many  an  invaluable  work.—  Enemies  of  Books. 

2  Every  owner  of  a  collection  of  prints  knows  the  amount  of  ready  know- 
ledge necessary  in  exhibiting  them;  the  vast  number  of  questions  he  is 
expected  to  answer.  He  must  be  informed  historically,  he  must  know  the 
painter  as  well  as  the  engraver,  have  a  smattering  of  their  art  and  peculiarities, 
a  respectable  knowledge  of  the  painter's  and  engraver's  life,  and  their  princi- 
pal works.     Unless  you  possess  such  knowledge,  don't  exhibit  your  prints. 

47 


in  ready  cash,  our  little  elementary  folly  has  cost 
us  just  three  hundred  dollars,  which  is  by  no 
means  an  extraordinary  sum.  The  question, 
however,  arises:  "Is  it  worth  it?"  I  think  it 
is ;  for,  mark  you,  we  are  to  credit  upon  the  ac- 
count two  years'  pleasure  in  this  refined  pursuit, 
enlarging  and  expanding  the  mind,  and  leaving 
enduring  traces  of  taste  and  character,  with  the 
entailment  of  no  evil  consequences,  which  would 
otherwise  probably  have  been  spent  in  greater 
follies,  with  none  of  the  culture. 

Having  now  led  you  through  the  rudimentary 
stages  of  unique  book-making,  we  will  review  the 
mighty  book-collectors  of  New-York  and  its  vi- 
cinity, with  some  of  the  peculiarities  and  liabilities 
of  their  giant  productions. 

Man  has  been  distinguished  from  the  rest  of 
creation  by  naturalists,  according  as  his  various 
attributes  were  presented  to  them,  as  "  a  two-leg- 
ofed  animal  without  feathers  "^ — as  "  an  animal  who 
uses  tools" — as  "a  cooking  animal  " — and  as  "a 
reasoning  animal."  But,  from  the  standpoint  of 
this  evening,  I  think  a  designation  of  quite  as 
universal  adaptation  would  be  a  collecting  ani?}tal. 
He  makes  collections  of  everything — old  books, 
autographs,  coins,  armor,  firearms,  pottery,  clocks, 
watches,  walking-sticks,  jewelry,  snuff-boxes,  fid- 

1  "Animal  implume  bipes." — Plato's  definition  of  man. 

48 


dies,  old  stoves,  frying-pans,  etc.^  I  do  not,  how- 
ever, desire  to  be  understood  as  intimating  that 
there  is  any  special  merit,  virtue,  or  genius  in 
mere  collecting.  It  is  genius  which  fabricates  from 
these  vast  accumulations  methods,  and  history  in 
art,  archaeology,  and  ethnology.  It  was  the  quarry- 
man,  the  stone-mason,  and  the  ironmonger  who 
collected  the  materials  for  the  Brooklyn  Bridge, 
but  it  was  the  synthetic  intellect  of  Roebling  that 
hung  it  in  the  air. 

From  my  experience  with  men  and  collectors  of 
fine  books  and  works  of  art,  I  should  say  that  the 

1  Douglas  Jerrold,  author  of  "  Mrs.  Caudle's  Curtain  Lectures,"  gives  an 
amusing  account  of  a  noble  collector  of  "  pump  handles  "  in  his  book  "  Men  of 
Character  "  —  " '  What  is  the  matter  with  your  arm  ? '  inquired  Cramlington 
with  great  concern. 

"  •  O,  such  rare  fun  last  night  —  never  had  such  glorious  fun!  Why 
were  n't  you  with  us  ?  Ha  !  ha  !  such  fun  !  '  and  his  lordship  flung  himself 
back  in  his  chair  and  shouted  with  laughter. 

"Cramlington,  staring  with  astonishment  at  the  open  and  injured  jaws  of 
nobility,  exclaimed,  '  My  dear  Slap,  what  's  the  matter  with  your  teeth  ?  ' 

"'Had  three  knocked  out  last  night  —  here  they  are,  though,'  and  his 
lordship  produced  three  teeth,  two  single  and  one  double,  from  his  waist- 
coat-pocket; 'brought  'em  off  safe  out  of  the  gutter,  and,  more  than  that, 
left  the  field  with  a  pump  handle  —  such  fun  !  ' 

"  '  Pump  handle  !  '  exclaimed  Cramlington,  '  what,  another  ?  ' 

" '  Yes  —  swore  I  'd  have  it  —  carried  off  St.  George's  last  night,  that  makes 
ten  pump  handles  in  my  chamber —  glorious  fun  —  must  have  a  dozen.'"  * 

*  There  are  gentlemen  of  high  intellectual  attainments  whose  entire  lives  are  devoted  to  the 
collection  and  investigation  oi  Diaioiiiacete.  Of  this  beautiful  infusorial  silicate,  trembling  be- 
tween the  animal  and  vegetable  kingdoms,  there  have  been  discovered  in  Europe  over 
4000  forms,  and  Asia,  Africa,  Polynesia,  and  America  will  quadruple,  probably,  this  number. 
And,  when  we  reflect  that  no  organism  on  this  earth  presents  such  a  variety  and  beauty  of 
structure  and  form,  and  such  richness  and  grandeur  of  complexion,  we  are  not  surprised 
at  their  attractiveness.  Their  size,  it  is  true,  is  against  them  as  popular  hobbies,  varj-ing,  as 
they  do,  from  ^Jj  to  gjj  of  an  inch.  And  yet,  among  the  gentlemen  mentioned,  there  are 
those  whose  highest  ambition  it  is  to  possess  every  variety  of  this  beautiful  creature,  and  whose 
lives  are  given  over  to  its  accomplishment.  The  great  economic  value  of  this  hobby  over 
books  and  old  stoves  is  apparent,  when  we  consider  that  over  60,000,000  of  these  little  crea- 
tures can  be  stored  away  in  a  lady's  thimble. 

49    • 


pleasure  does  not  cloy  with  possession,  like  most 
of  the  other  pleasures  or  hobbies  of  this  life  ;  there 
is  always  a  residuum  of  intrinsic  worth  or  adequacy 
after  the  passion  has  subsided,  something  solid  all 
the  way  through,  which  distinguishes  it  from  other 
fleeting  and  hollow  pleasure.^  It  does  not  turn  its 
back  upon  us  in  adversity  —  "it  never  alienates 
our  friends  or  embitters  our  enemies,"  and  never 
dishonors  our  morality. 

You  remember  the  little  girl  in  "Punch"  who, 
when  she  discovered  that  her  doll  was  stuffed  with 
bran,  declared  everything  in  the  world  hollow,  and 
wanted  to  be  immediately  put  in  a  nunnery.  The 
wisest  man  who  ever  lived  —  King  Solomon  — 
had  a  like  experience.  And  there  are  thousands 
of  men  who  frequented  the  Prospect  Park  Fair 
Grounds  and  the  Sheepshead  Bay  Racing  Park 
during   the    past    season,    in    search    of  pleasure, 

1  We  submit,  that  though  we  have  thus  touched  on  but  a  very  small  corner 
of  the  subject,  we  have  sufficiently  made  out  our  case  —  that  book-collecting 
really  has  some  solid  basis  of  intelligent  interest,  that  it  may  legitimately  call 
forth  some  degree  of  fervor  and  enthusiasm,  that  it  cannot  altogether  be  re- 
garded as  the  pursuit  of  a  mind  verging  on  fanaticism  or  insanity,  and  that  it 
must  be  classed  in  a  totally  different  category  from  the  taste  for  old  china, 
old  snuff-boxes,  old  oak  chairs,  or  old  swords  and  daggers.  Without  such 
knowledge  as  the  true  book-collector  generally  possesses,  and  such  care  and 
solicitude  as  he  is  accustomed  to  exercise,  it  is  evident,  from  what  we  have 
shown,  that  we  shall  be  pretty  certain  to  miss  something  that  is  best  in  the 
works  of  great  authors  of  past  times.  And  so,  also,  the  most  curious  infor- 
mation, the  most  solid  instruction,  and  the  most  unexpected  and  interesting 
insight  both  into  the  character,  habits,  and  tastes  of  men  of  genius,  and  into 
other  matters  not  less  important,  will  often  be  the  reward  of  that  quick  scent 
and  taste  which  the  zealous  book-collector  seldom  fails  to  acquire  in  the  ex- 
ercise of  his  pursuit. 

50 


whose  experience  is  very  much  like  that  of  the 
Httle  girl  in  "  Punch  " — perhaps  something  worse. 
It  is  not  my  intention,  however,  to  intermeddle  with 
any  man's  pursuit  of  happiness ;  but  some  of  these 
people  so  splenetically  sneer  at  bibliolatry  as  an 
unproductive  and  ruinous  hobby,  and  refer  to 
wasted  lives  so  carpingly,  that  it  is  a  relief  to  take 
them  at  disadvantage  when  the  regrets  of  a  badly 
invested  stake,  or  the  remorse  of  a  "gilt-edged" 
debauch,  or  a  general  and  aggregate  self-condem- 
nation chance  to  be  on ;  to  pinion  them  up  against 
the  wall,  where  they  cannot  escape  themselves, 
label  them,  and  let  them  volunteer  the  honest  con- 
fession that  they  would  have  been  more  morally, 
more  honorably,  and  more  profitably  employed  in 
collecting  old  "frying-pans."  I  know  men  who, 
under  my  own  observation,  have  grown  wonder- 
fully and  mysteriously  rich.  They  are  liberal, 
lavish  their  money  upon  their  families  in  tawdry 
finery,  and  grow  more  vulgar  with  every  dollar 
they  spend.  John  Ruskin  asks:  "What  propor- 
tion of  the  expense  in  the  life  of  a  gentleman  do 
books   bear  to  that  of  horses,  dinners,^  clubs,  or 

1  We  have  the  record  of  three  magnificent  repasts  served  at  the  establish- 
ment of  Lorenzo  Delmonico  in  New-York :  The  famous  Morton-Peto 
banquet,  at  two  hundred  and  fifty  dollars  a  plate ;  the  Robert  L.  Cutting 
dinner;  and  the  Grand  Swan  dinner,  so  called  because  on  the  table  was  a 
miniature  lake  in  which  swans  were  swimming.  For  five  thousand  dollars 
Delmonico  would  take  a  contract  to  make  fifty  people  gastronomically  com- 
fortable. But  these  dinners  were  conducted  with  an  economy  bordering 
upon  meanness  when  compared  to  some  English  and  French  dinners. 

51 


theaters?"  What  the  comparative  expense  in  the 
supply  of  the  Hbrary  and  the  wine-cellar?  ^  I  hope 
I  may  be  pardoned  for  this  Boswellian  digression ; 
it  is  a  tribute  due  a  wounded  sensibility. 

I  now  close.  I  have  performed  my  contract 
with  the  Rembrandt  Club  to  the  best  of  my  little 
ability.  My  sketch — very  much  like  a  geological 
sketch  made  from  the  window  of  a  liorhtninsf  ex- 
press-train  while  passing  over  a  country  —  may 
not,  however,  be  without  a  few  useful  hints  con- 
cerning the  strata  about  the  stations. 

1"  I  do  not  envy  any  man,"  says  Blades,  in  "  Enemies  of  Books,"  "  that 
absence  of  sentiment  which  makes  some  people  careless  of  the  memorials  of 
their  ancestors,  and  whose  blood  can  be  warmed  up  only  by  talking  of  horses 
or  the  price  of  hops.  What  an  immense  amount  of  calm  enjoyment  and 
mental  renovation  do  such  men  miss !  Even  a  millionaire  will  ease  his 
toils,  his  ennui,  lengthen  his  life,  and  add  a  hundred  per  cent,  to  his  daily 
pleasure,  if  he  become  a  bibliophile;  while,  to  the  man  of  business,  with  a 
taste  for  books,  who,  through  the  day,  has  struggled  in  the  battle  of  life, 
with  all  its  irritating  rebuffs  and  anxieties,  what  a  blessed  season  of  pleasur- 
able repose  opens  upon  him  as  he  enters  his  sanctum,  where  every  article 
wafts  to  him  a  welcome,  and  every  book  is  a  personal  friend !  " 


52 


miiiiimji^iXiiiiiuiiii^iimLih 


..:^l^li.;■..^■:,^^.L^..^I^,^^v^^,iJ..■WJ•^■..■^^■;■.^.^v:.;.■^:■^.^^^^ 


CHAPTER     II. 


John  Allan.  Leonard  R.  Koecker.  Evert  A. 
DuYCKiNCK.  James  Lenox.  George  Champhin 
Mason.  J.  Carter  Brown. 
Alexander  Farnham.  H 
A.  Rice.  Andrew  Wight. 
Nathaniel  Paine. 


John  R.  Bartlett. 

F.   Sewall.      John 

William   Menzies. 


BIBLIOMANIA(pcp)io{xctvta),book-mad- 
ness,  as  it  has  been  reproachfully  called, 
and  which  is  no  madness  at  all  unless, 
indeed,  Omnis  amans  aniens  be  a  truthful  adage, 
has  been  handed  down  from  a  great  antiquity.  It 
antedates  the  Christian  era.  But  that  phase  of 
bibliomania  which  is  made  the  subject  of  this  mon- 
ograph—  private  illustrating  —  is  emphatically  a 
modern  discovery.  Its  origin  does  not  lie  beyond 
the  memory  of  persons  now  living.      It  has  no  ar- 

53 


chaeology,  no  ancient  history,  no  venerable  pre- 
cedents, no  primary,  secondary,  or  tertiary  —  it 
is  all  of  the  most  recent  quaternary.  There  was 
probably  in  England  some  slight  symptoms  of 
the  jnalady  during  the  latter  half  of  the  eighteenth 
century  in  the  illustrating  of  Granger's  "  Biblio- 
graphical History  of  England" ;  and  Dibdin  also 
refers  to  it.  In  America,  however,  there  seem 
to  have  been  no  incipient  stages  of  the  infection, 
no  precursors,  no  embryo  state,  and  no  long  cir- 
cuit of  evolutionary  processes.  It  appears  to  have 
burst  out  upon  the  world  full-grown  and  equipped 
like  Pallas  Athena  from  the  brain  of  Jupiter. 

The  library  as  an  institution  has  been  develop- 
mental, and  so  have  art  and  art  collections;  there 
was  with  them  a  period  of  small  beginnings.  Not  so 
with  privately  illustrated  books.  The  work  of  the 
first  American  illustrator  has  not  probably  been 
excelled.  The  vast  millions  (which  will  never  be 
footed  up)  to-day  invested  in  that  pleasurable  di- 
version are  unprecedented  in  the  history  of  hobbies  ; 
there  is  no  parallel  in  the  world  of  extravagance. 
Men  who  collect  books  or  who  collect  works  of 
art  and  virtu  are  generally  men  of  culture;  they 
bear  a  small  proportion  to  the  mass  of  the  popula- 
tion, and  indulge  in  these  luxuries  for  the  love  they 
have  for  the  beautiful.  Yet  I  know  men  who  are 
collectors  of  books  and  paintings,  and   who  love 

54 


them,  but  whose  dominant  passion  is  speculation. 
They  possess  marvelous  knowledge  of  their  values, 
and  hence  fortunes  are  sometimes  realized.  This 
applies  to  books  and  works  of  art ;  no  golden 
visions  disturb  the  slumbers  of  the  private  illus- 
trator. The  man  who  illustrates  books  with  the 
idea  of  profit  will  be  left.  You  can't  bull  that 
market.  Of  the  collectors  of  books  and  libraries 
not  one  in  ten  thousand  attains  to  the  degree  of 
private  illustrator,  although  no  man  ever  became 
an  illustrator  who  was  not  a  lover  of  books. 

The  publication  of  the  catalogue  of  the  great 
library  of  John  Allan  was  a  revelation  to  the 
book-lovers  of  America,  Its  vastness  and  its 
quality  took  every  one  by  surprise.  Even  his 
most  intimate  friends  had  greatly  underestimated 
his  accumulations.  It  has  not  been  excelled  to 
the  present  time,  and  as  an  individual  collection, 
or  as  representing  the  labor  of  one  man  and  one 
lifetime,  it  stands  preeminent.  John  Allan  and 
Mrs.  Mary  Jane  Morgan  were  pioneers,  and  will 
long  remain  unrivaled  in  their  respective  depart- 
ments. It  seems  to  us  that  as  collectors  of  works 
of  art  and  virtu  they  stand  alone  in  their  eclecti- 
cism. John  Allan's  collection  of  illustrated  books 
may  be  excelled  in  time ;  Mrs.  Morgan's  collec- 
tion of  paintings,  in  its  thorough  completeness, 
will  never  be. 

55 


Regarding  him  as  a  collector  simply,  John 
Allan  was  a  most  remarkable  man.  Nothing  ap- 
pears to  have  escaped  him ;  he  had  the  keenest 
sense  for  rarities,  judging  from  what  he  secured, 
of  any  man  we  have  ever  known ;  his  accumula- 
tions covered  all  the  territory  from  porcelains  to 
Highland  costumes;^  and  he  was  the  Nestor  of 
the  book-illustrating  passion  in  America.  He  dis- 
played great  judgment  and  delicacy  of  taste  in  the 
selection  and  make-up  of  his  illustrated  books; 
they  were  the  work  of  his  own  hands,  and  were  to 
him  more  than  mere  vehicles  of  entertainment  — 
they  were  articles  of  faith.  His  collection  first  be- 
came known  to  the  world  after  his  death  in  1864, 
when  it  was  catalogued  for  sale  by  Bangs,  Merwin 
&  Co.  This  great  sale,  which  was  the  first  of  its 
kind  in  America,  appears  to  have  established  stan- 
dards, not  only  there  but  abroad,  from  which  to 
estimate  the  value  of  literary  and  artistic  rarities; 
and  the  priced  catalogue  of  John  Allan's  sale  (the 
first  ever  prin,ted  in  America)  has  been  consulted 
as  the  criterion  of  values  for  nearly  thirty  years. 

1  John  Allan  was  a  Scotchman,  the  son  of  an  Ayrshire  farmer,  who,  be- 
coming discontented  with  the  modest  sphere  to  which  Providence  had 
assigned  him  in  his  native  land,  resolved  to  try  his  fortunes  in  the  New 
World,  and,  accordingly,  emigrated  to  the  United  States  about  the  beginning 
of  the  present  century.  Taking  up  his  abode  in  New  York  city,  his  inflex- 
ible honesty,  his  industry  and  shrewd  intelligence,  always  enabled  him  to 
obtain  lucrative  employment.  From  an  humble  beginning  he  accumulated 
the  means  to  gratify  his  taste  for  books.  And  many  years  before  his  death 
he  was  known  as  a  collector  through  the  principal  book-haunts  of  Europe 
and  America. —  Bibliopolist. 

56 


The  first  book  we  present  to  our  readers  is  from 
the  Allan  collection,  and  is  a  book  on  "Book-mad- 
ness, or  Bibliomania" — a  romance  in  six  parts,  by 
Thomas  F.  Dibdin,  extended  by  illustrations  to 
two  volumes  imperial  octavo,  by  William  Turner, 
containing  two  hundred  and  ninety-seven  portraits 
added  by  the  illustrator,  bound  in  green  morocco, 
extra  tooled  inside  and  out,  by  Charles  Lewis,  Sr., 
of  London.  These  map^nificent  volumes  belonged 
to  Mr.  Allan  and  were  sold  with  his  collection  ; 
they  brought  $720.  .  Also,  Thomas  F.  Dibdin's 
"  Bibliophobia,"  with  eighty-eight  portraits;  and 
another  copy  of  the  same  work,  both  privately 
illustrated.  Also,  Dibdin's  "  Typographical  Anti- 
quities, or  a  History  of  Printing  in  England,  Scot- 
land, and  Ireland,"  extended  to  four  volumes  by 
illustrations.  The  thirty-two  volumes  of  Dibdin 
in  Mr.  Allan's  collection  sold  for  $1200.'  It  was 
a  beautiful  set. 

Washington  Irving's  "  Knickerbocker's  History 
of  New-York,  from  the  Beginning  of  the  World 
to  the  End  of  the  Dutch  Dynasty,"  a  very  diffi- 
cult book  to  illustrate,  was  also  in  this  collec- 
tion.    Into  it  Mr.  Allan  had  inserted  two  hundred 

1  Mr.  Allan's  library  consisted  of  about  7500  volumes,  5278  titles,  among 
which  were  many  Bibles,  some  in  manuscript  and  vellum  of  the  fourteenth 
century,  Eliot's  Bible,  Breeches  Bible,  Gospel  of  the  Four  Evangelists,  in 
Saxon  and  English  black-letter,  1571 ;  "Tractatus  Verborum,"  a  small  tract 
printed  by  Wynken  De  Worde,  bound  by  Mackenzie;  the  "  Byrthe  of  Man- 
kynde,"  in  black-letter,  1540;  and  about  loo  volumes  of  scrap-books. 

57 


and  seventy-five  prints  and  etchings,  and  he  had 
extended  the  text  to  foho.  Many  of  the  illus- 
trations were  in  proof,  and  all  were  good  impres- 
sions. It  was  an  encyclopedia  of  Knickerbockerian 
art.  This  work  was  purchased  by  James  Lenox 
(French)  for  $1250,  and  now  (1880)  worthily 
adorns  his  noble  collection.  Also,  "A  Humorous 
History  of  New- York,"  by  W,  Irving,  extended  to 
folio,  one  hundred  and  seven  portraits  and  many 
other  prints  added.  It  fetched  $400.  There  was 
another  copy  of  the  same  work  in  this  library,  also 
illustrated. 

Doctor  Francis's  "  Old  New-York,  or  Remi- 
niscences of  the  Past  Sixty  Years,"  replete  with 
illustrations,  fetched  $150.  "Life  of  John  Trum- 
bull," in  two  folio  volumes,  with  one  hundred  and 
ten  inserted  prints,  fetched  $180.  Here  also  was 
Irving's  "  Life  of  Washington,"  in  five  volumes, 
illustrated  by  hundreds  of  portraits  and  prints ;  it 
sold  for  $275. 

We  next  have  the  Pickering  edition  of  Isaac 
Walton's  "  Complete  Angler,"  with  Nichols's  notes, 
extended  to  four  volumes  by  the  insertion  of  two 
hundred  and  sixty  portraits,  forty-eight  head  and 
tail  pieces  on  India  paper,  besides  a  number  of 
original  drawings.  "  It  was,"  says  Dr.  Bethune, 
"an  exquisite  book.  I  have  nothing  to  equal  it." 
It   fetched    $600.       There    was    another    edition, 

58 


a  large-paper,  with   Hawkins's  notes,  sold  at  this 
sale. 

We  now  have  George  Vertue's  description  of  the 
works  of  Hollar,  illustrated  with  a  great  number  of 
Hollar's  own  engravings  and  etchings;^  also  John 
Jackson  on  "  Wood-engraving,"  extended  to  four 
volumes,  three  hundred  and  twenty  prints  having 
been  added ;  and  another  copy,  extended  to  four 
volumes,  with  several  hundred  prints;  and  Chatto 
on  "Wood  Engraving,"  two  hundred  and  seventy 
prints  inserted,  extending  the  one  volume  to  three. 
There  was  also  Gilbert  Burnet's  history  of  "  My 
Own  Times,"  two  volumes  extended  to  four,  folio, 
three  hundred  and  twenty-six  prints  added.  It  sold 
for  $  1 60.  Of  this  book  Johnson  said:  "I  do  not 
think  that  Burnet  intentionally  lied ;  but  he  was  so 
much  prejudiced  that  he  took  no  pains  to  find  out 
the  truth."  The  "  Life  of  Humphrey  Davy,"  by 
Paris,  illustrated  by  autograph  letters  and  por- 
traits of  the  most  eminent  literary  and  scientific 
men,  including  Count  Benjamin  Thompson  Rum- 
ford,  Dr.  Samuel  Parr,  Dr.  John  Fothergill,  Lord 
Cornvvallis,  Sir  John  Herschel,  Dr.  Ralph  Mil- 
bank,  Sir  John  Pringle,  Duke  of  Sussex,  Sir  Ed- 
ward Home,  Earl  Spencer,  and  others,  in  two 
volumes,  octavo,  was  also  in  the  list.     Of  the  "  Life 


1 A  set  of  these  valuable  prints  sold  at  the  Tite  sale  for  $340,  and  a  finer 
set  at  the  sale  of  Mr.  Corser  for  $700. 

59 


of  Mary  Queen  of  Scots"  there  were  two  copies, 
both  elegantly  illustrated  with  different  sets  of 
prints/ 

Now  comes  "Robert  Burns's  Life  and  Works,  "by 
James  Currie,  bound  by  Mackenzie,  in  nine  vol- 
umes, two  hundred  and  thirty-six  portraits  and 
prints,  with  sixty  different  portraits  of  Burns,  in- 
serted. These  volumes  sold  for  $200.  There 
were  nine  editions'^  of  the  Bard  of  Ayrshire,  or 
"  unregenerated  heathen,"  as  he  calls  himself,  in 
this  collection,  not  including  the  Kilmarnock  edi- 
tion, and  all  privately  illustrated.^  Also,  "Horace 
Walpole,"  in  seven  volumes,  which  fetched  $257. 
Lord  Byron's  "English  Bards  and  Scotch  Review- 
ers," inlaid  to  folio,  contained  one  hundred  and  forty- 
five  portraits  and  many  other  prints,  and  all  the 
portraits  of  Byron,*  forty-four  autographs  and  origi- 
nal letters  of  Wordsworth,  Lamb,   Sydney  Smith, 

1  These  went  to  the  collection  of  J.  Carter  BrowTi,  of  Providence,  R.  I. 

2  There  have  been  one  hundred  and  twenty-nine  editions  of  Burns's  works 
published  in  London,  seventy  in  Edinburgh,  thirty-six  in  New-York,  forty  in 
Glasgow,  and  twenty  in  Philadelphia,  and  about  sixty  in  all  other  places. 

3  The  esteem  in  which  Burns  is  held  is  evidenced  by  the  sale  of  his  auto- 
graph, "  Bruce's  Address  to  His  Troops  at  Bannockburn,"  commencing 
"Scots  wha  hae  wi'  Wallace  bled,"  and  signed  by  "Rob.  Burns."  This 
address  sold  for  $iOD  at  the  Tite  sale  in  London,  1874.  Either  Burns  must 
have  made  more  than  one  copy  of  this  address,  or  the  Tite  copy  was  not  genu- 
ine, for  Robert  Thallon,  Esq.,  of  Brooklyn,  possesses  an  undoubted  original. 

4  We  missed  two  of  his  lordship;  one,  taken  by  Cruikshank,  representing 
him  in  his  arm-chair  with  a  fluid  suggestive  of  brandy  at  his  elbow,  and 
engaged  in  disturbing  the  equilibrium  of  the  terrestrial  globe  —  in  other 
words,  kicking  an  artificial  globe  out  of  the  window.  There  is  another 
which  I  did  not  find  in  this  work ;  it  is  the  apotheosis  of  Byron  and  Hook 
by  "Punch." 

60 


Fox,  Rogers,  Gifford,  Cobbett,  Duke  of  Portland, 
R.  Payne  Knight,  Lord  Hervey,  and  many  others. 
This  book  was  gotten  up  in  London  by  WilHam 
Upcott,  and  was  purchased  by  Mr.  Allan,  and  at 
his  sale  was  sold  to  Alexander  Farnham,  of  Provi- 
dence, for  $130,  and  now  (1884)  is  catalogued  with 
Mr.  Farnham's  collection  for  sale. 

Shakespeare  was  represented  in  this  emporium 
of  illustrated  literature  by  eleven  titles,  ninety-one 
volumes,  and  all  privately  illustrated,  containing 
many  thousands  of  prints. 

The  "  Works  and  Lives"  of  Pope,  Scott,  Ramsay, 
Moore,  Campbell,  and  a  great  many  others,  all 
privately  illustrated,  were  also  to  be  found  here, 
including  Oilman's  "  Life  of  Samuel  Taylor  Cole- 
ridge," which  is  worthy  of  more  than  mere  men- 
tion, it  being  uniquely  illustrated  by  a  great  many 
autograph  letters  and  unpublished  poems  in  man- 
uscript in  Coleridge's  handwriting,  besides  many 
other  autograph  letters  of  contemporaneous  lit- 
erary men  and  their  portraits. 

Coleridge  left  a  great  deal  of  unfinished  work. 
His  "Kubla  Khan"  and  "Christabel"  were  won- 
derful productions.  But  he  was  a  man,  says  Col- 
lier, whose  life  was  a  succession  of  beginnings  of 
which  he  never  saw  the  end.  He  went  to  college, 
but  took  no  degree.  He  prepared  for  emigration, 
but  never  started.     He  got  married,  and  left  others 

61 


to  support  his  wife  and  children.  At  twenty-five 
he  planned  an  epic  on  the  "Destruction  of  Jeru- 
salem," but  to-morrow  —  to-morrow — to-morrow. 
And  yet  there  are  many  great  names  that  we 
could  better  afford  to  spare,  and  which  we  could 
more  gladly  miss,  from  the  roll  than  Coleridge. 
He  left  no  school  of  poetry,  but  he  left  a  philosophy. 

For  bindings  Mr.  Allan  indulged  in  the  luxuries 
of  Tarrant,  Bedford,  Payne,  Mackenzie,  Lewis, 
Matthews,  and  Riviere.  There  was  a  remarkable 
book  about  Robert  Fulton  in  this  illustrated  library. 
It  was  a  "Treatise  on  the  Improvement  of  Canal 
Navigation,"  exhibiting  the  many  advantages  of 
small  canals  and  boats  from  two  to  five  feet  wide 
and  from  two  to  five  tons  burden.  In  it  were  ex- 
amples of  Fulton's  original  drawings,  water-colors, 
etc.,  and  autograph  letters  of  Chancellor  Livingston, 
Benjamin  West,  Joel  Barlow,  Gouverneur  Morris, 
Andrew  Jackson,  Count  Volney,  Pierre  Simon  La 
Place,  and  Gaspard  Monge ;  also  newspaper-cuttings 
from  the  contemporaneous  press.  There  were  one 
hundred  volumes  of  scrap-books  in  this  collection, 
and  hundreds  of  other  curious  things  for  which  no 
place  can  be  assigned  in  this  monograph. 

Mr.  Allan  was  one  of  the  few  kind,  generous, 
and  simple-hearted  men  whose  life  was  made 
happy,  beautiful,  and  worthy  of  imitation  through 
the  enduring  qualities  of  sincerity  and  truthfulness 

62 


by  which  it  was  characterized,  and  his  epitaph  is 
not  only  inscribed  upon  the  memories  of  the  men 
of  his  time,  his  contemporaries,  personal  friends, 
but  he  will  be  gratefully  remembered  by  every 
book-lover  in  this  country  for  generations  to  come. 
His  name  will  be  long  associated  with  generous 
reminiscences  of  the  craft.  Never  was  so  much 
attained  by  one  man ;  for  it  must  be  remembered 
that  in  his  lifetime  he  had  not  only  brought  together 
this  vast  accumulation  of  treasures,  but  that  he 
had  acquired  the  means,  and  had  also  at  the  same 
time  qualified  himself  in  an  art  culture  which  alone 
could  make  such  a  collection  possible. 

Mr.  Allan  had  also  gained  many  warm  personal 
friends.  "Among  those,"  says  Bookworm,  in 
Sabin's  "  Bibliopolist,"  "  who  frequented  and  en- 
joyed the  cultivated  atmosphere  of  his  residence  in 
Vandewater  street,  were  Dr.  Francis,  Verplanck, 
Duyckinck,  Peter  Hastie,  J.  Carson  Brevoort,  Mr. 
Lossing,  Mr.  Putnam,  Henry  C.  Murphy,  Dr.  L.  R. 
Koecker,  Dr.  Anderson,  the  father  of  American 
wood-engraving,  and  others.''^ 

1  The  following  note,  containing  some  very  interesting  facts  concerning 
Mr.  Allan,  and  which  will  explain  itself,  was  written  immediately  after  ihe 
first  report  of  this  lecture  in  the  "  Brooklyn  Daily  Eagle,"  in  December  last : 

"  Philadelphia,  December  ii,  1880.  ) 
"  1520  Spruce  St.  $ 

"  My  dear  Mr.  While: 

"The  newspaper  article  you  were  so  kind  to  mail  to  me,  I  can  assure  you, 
was  very  interesting  to  me.  I  was  very  intimate  with  Mr.  Allan,  men- 
tioned as  being  one  of  the  first  collectors  and  illustrators  in  this  country. 

63 


Before  dismissing  Mr.  Allan,  it  may  be  interest- 
ing to  his  admirers  to  relate  an  incident  which  took 
place  on  the  26th  of  February,  on  the  occasion  of 
his  eightieth  birthday.  It  was  a  social  gathering  at 
his  house,  and  a  surprise  to  him.  His  daughter, 
Mrs.  Stewart,  was  in  the  secret,  and  assisted  in  the 
preparation.  A  beautiful  and  costly  scrap-book 
was  presented  to  him  during  the  evening.  On  one 
of  the  opening  pages  has  since  been  written,  in  Mr. 
Allan's  precise  handwriting,  the  story  of  the  pres- 
entation ;  how  it  was  prepared  at  the  expense  of 
his  friends,  and  was  to  him  a  most  thorough  sur- 

He  died  from  the  effects  of  a  shock  received  from  fright  during  the  bounty 
riots  in  New- York,  about  1863.  I  had  the  pleasure,  about  seven  years 
before  his  death,  of  being  one  of  a  surprise  party  that  met  at  his  house  to 
celebrate  his  eightieth  birthday.  Among  the  number  were  Dr.  L.  R. 
Koecker,  the  late  George  P.  Putnam,  Benson  J.  Lossing,  Mr.  Menzies,  John 
and  Thomas  Moreau  —  in  all  about  fifteen  in  number.  I  illustrated  his  life, 
written  by  Jno.  B.  Moreau  for  the  Bradford  Club,  of  New-York. 

«F.  J.  Dreer. 
«  To  G.  C.  White,  690  Broadway,  N.  Y." 

Besides  his  books  Mr.  Allan's  collection  contained  a  great  number  of 
autograph  letters,  one  of  which,  a  letter  of  Washington  to  the  New-York 
corporation,  May  2, 1785,  fetched  $2050.  He  also  had  a  large  collection  of 
engravings,  water-colors,  and  pencil  drawings,  oil-paintings,  and  a  rare  col- 
lection of  coins  and  medals,  many  hundred  specimens  of  minerals,  one 
hundred  and  seventy-four  snuff-boxes,*  a  large  collection  of  gold  and  silver 

*  The  passion  for  collecting  snufT-boxes  has  an  antiquity.  Frederick  the  Great  indulged 
in  this  singular  hobby,  and  when  he  died  his  collection  exceeded  a  thousand.  The  Duke  of 
Richelieu  had  one  for  each  day  in  the  year.  This  collection  was  sold  in  1848.  The  Princesse  de 
Tallard,  governess  of  Louis  XV. 's  children,  possessed  a  remarkable  one.  The  Fermier- 
General  Pinon,  Vigde  the  poet,  Lablache  the  singer,  and  the  Prince  Demidoffwere  celebrated 
collectors.  Of  more  recent  date  two  collections  are  worthy  of  mention,  the  one  left  by  Mme. 
Lenoir,  in  1874,  consisting  of  two  hundred  and  four  boxes  ornamented  with  paintings, 
enamels,  and  precious  stones.  The  greatest  collection  of  snuff-boxes  in  this  city  [New-York] 
is  that  of  Mr.  G.  Mannheimer,  a  gentleman  who  is  otherwise  widely  known  as  a  collector 
of  paintings.  His  collection  of  snuff-boxes  is  extremely  rare,  and  noted  for  its  historical  and 
intrinsic  value. —  The  Collector. 

64 


prise.  It  was  presented  by  Dr.  Koecker,  in  a  suit- 
able speech.  On  the  same  evening  F.  J.  Dreer, 
of  Philadelphia,  presented  him  with  a  neat  gold 
stud,  faced  with  a  portion  of  the  bell  that  first  an- 
nounced the  Declaration  of  Independence,  July  4, 
1776.  E.  J.  Woolsey,  of  Astoria,  L.  I.,  also  pre- 
pared expressly  for  the  occasion  a  medal  inscribed 
to  Mr.  Allan,  which  was  also  presented  to  him. 

The  page  on  which  was  written  the  statement  of 
which  the  above  is  a  synopsis  was  signed  by  the 
friends  present,  in  the  following  order:  Leonard 
R.  Koecker,  Fred.  J.  Dreer,  Joseph  Moreau,  John 
B.  Moreau,  John  Wiley,  Benson  J.   Lossing,  J.  S. 

watches,*  silver  plate,  brooches,  buckles,  etc.,  antique  china,  bronzes,  armor, 
Highland  costumes.  His  collection  was  not  much  inferior  to  the  great 
Hunterian  collection  of  Dr.  John  Hunter  (died  in  1783);  in  some  respects 
it  was  much  superior.! 

*  Mr.  Giovanni  Morosina  of  Riverdale  has  a  large  collection  of  watches,  in  which  a  fortune 
is  invested. 

Austin  Corbin  has  a  mania  for  collecting  chairs  and  furniture  of  the  Louis  Quatorze  penod, 
and  of  the  time  of  Elizabeth,  and  of  the  renowned  William  Wallace. 

President  Harrison  is  very  fond  of  bric-a-brac.  At  his  home  in  Indianapolis  he  has  a  very 
rare  collection,  among  which  are  some  valuable  Greek  and  Roman  coins.  Another  hobby 
of  his  is  a  scrap-book  in  which  he  has  a  copy  of  every  speech  he  has  ever  made. —  The 
Collector. 

t  Mr.  William  B.  Astor  collects  all  varieties  of  old  rare  china,  and  is  said  to  have  the  largest 
collection  of  Dresden  in  the  world. 

Mr.  Pierre  Lorillard  has  a  fine  collection  of  meerschaum  pipes,  which  is  said  to  be  worth 
$10,000.  One  of  his  pipes  is  twenty-four  inches  long,  and  is  a  very  fine  specimen  of  the  old 
style  of  Knickerbocker  pipe.  Mr.  Ogden  Goelet  is  another  enthusiastic  pipe-collector.  Some 
of  his  pipes  are  exquisitely  carved.  He  has  one  that  is  unique.  On  the  lid  is  a  figure 
representing  St.  Nicholas ;  a  figure  on  the  bowl  represents  Peter  Stuy vesant,  the  old-time 
governor  of  New- York  ;  another  carving  on  the  bowl  represents  Wouter  Van  Twiller,  another 
Dutch  governor  of  New  Netherland,  and  still  another  representing  Van  Cortlandt,  the  first 
governor  of  Communipaw. —  N.   V.  Recorder. 

Apropos  of  pipes,  I  find  in  my  notes,  without  being  able  to  trace  its  source,  a  memoran- 
dum of  a  volume  on  "  Tobacco  ;  its  History  and  Associations  :  Showing  its  Solace  to  King 
and  Beggar,"  extended  to  ten  volumes  atlas  folio  by  the  addition  of  woodcuts,  portraits  of 
renowned  smokers,  chewers,  pipes,  cigars,  snuff,  snuff-takers,  and  snuff-boxes.  Here  we 
find  Milton  and  Barrow,  the  learned  Parr,  the  poet  laureate  Tennyson,  and  a  host  of  other 
worthies. 

65 


Phillips,  P.  Hastie,  Wm.  T.  Davis,  Wm.  Menzies, 
E.  J.  Woolsey,  Geo.  P.  Putnam. 

A  supper  followed,  with  decorations  of  flowers, 
and  in  the  center  of  the  table  was  a  colossal  char- 
lotte russe  prepared  by  the  celebrated  caterer  Pet- 
ler,  on  which  was  inscribed  in  icing,  "  Illustrated 
by  John  Allan,  and  bound  by  Doctor  Koecker," 
Here  we  must  close  our  gossip  of  one  of  the  most 
remarkable  collections  ever  sold  in  America. 

Fortuitously  the  collection  of  Doctor  Leonard 
R.  Koecker,  of  Philadelphia,  succeeds  that  of  his 
old  friend  and  contemporary  John  Allan  in  our 
sketch.  Of  private  illustrators.  Doctor  Koecker 
was  one  of  the  earliest  in  the  field,  and  more  than 
ordinary  interest  centers  upon  the  old  veteran, 
now  over  eighty  years  of  age,  and  still  at  work, 
inasmuch  as  he  not  only  did  his  own  collecting  and 
inlaying,  but  also  his  own  binding.  He  spent  a 
long  time  in  the  most  noted  binderies  of  Paris  and 
London,  in  his  determination  to  master  the  secrets 
of  the  art.  He  was  the  personal  friend  of  John 
Allan,  Irving,  Hastie,  Menzies,  Barlow,  and  all  the 
old  school  of  book-lovers  and  illustrators. 

The  first  book  in  his  collection  commanding  our 
attention  is  one  illustrated  by  him  as  a  present  to 
John  Allan.  It  is  an  English  edition  (1803)  of 
"  The  Kisses  of  Joannes  Secundus,"  a  small  octavo, 
which    he  inlaid  to  quarto  on  heavy  government 

66 


paper.  It  is  illustrated  by  representative  prints  of 
Eisen,  Bartolozzi,  Moreau,  Cochin,  Gravelot,  Chaf- 
fard,  Mounet,  and  others ;  also  original  drawings 
by  F.  O.  C.  Darley  and  Dr.  Alexander  Anderson 
expressly  for  the  work.  It  is  bound  in  full  red 
levant.  Mr.  Allan  highly  prized  this  volume,  and 
at  his  death  his  daughter  returned  it  to  Dr. 
Koecker. 

Another  similarly  gotten  up  book  is  the  "Epitha- 
lamium,  or  Nuptial  Song,"  of  Joannes  Secundus. 
It  was  from  the  press  of  Bozane,  1856,  and  was 
Number  4,  of  which  only  twenty  were  printed. 
This  difficult  book  to  illustrate  contains  examples 
from  the  burin  of  Bartolozzi,  Eisen,  Gravelot,  and 
others.  Great  care  has  been  taken  to  secure  the 
most  beautiful  impressions  of  the  plates.  On  this 
book  Doctor  Koecker  displayed  his  best  work  in 
binding.  The  fly-leaves  are  illuminated  with  mini- 
atures illustrating  the  text ;  the  whole  incased  in 
full  crimson  levant  morocco,  gilt  back,  gold  bor- 
ders on  side,  edges  gilt  on  round,  inside  of  covers 
lined  with  drab-green  crushed  levant  inlaid  in  a 
Grolier  pattern  with  red  crushed  levant,  and  elab- 
orately tooled  borders  in  gold.  It  is  a  marvelous 
work. 

"  English  Bards  and  Scotch  Reviewers,"  Byron. 
The  only  reprint  of  the  fifth  edition,  containing  all 
the  matter    expurgated  from    the    other    editions. 

^7 


Inlaid  to  a  quarto,  with  one  hundred  and  forty- 
five  portraits  and  other  prints  inserted;  also  let- 
ters of  William  Cobbett,  Lord  Jeffrey,  Sir  Walter 
Scott,  Thomas  Moore,  Lord  Brougham,  Thomas 
Campbell,  Samuel  Rogers,  and  William  Gifford. 
The  binding  is  in  the  same  elaborate  style  as 
the  last. 

The  doctor  has  succeeded  in  collecting  seventy- 
five  prints  to  illustrate  Sterne's  "Sentimental  Jour- 
ney," the  text  of  which  he  has  inlaid  to  quarto. 
Also,  Rufus  W.  Griswold's  "Republican  Court,  or 
American  Society  in  the  Days  of  Washington,"  has 
been  extended  to  two  large  volumes  by  the  inser- 
tion of  two  hundred  and  fifty  portraits,  head  and 
tail  pieces,  and  some  autographs. 

Here  is  also  Irving's  "  Life  of  Washington," 
large  paper,  with  full  set  of  proof-prints,  and  the 
portrait  of  the  author,  with  his  autograph  attached; 
besides  the  insertion  of  upward  of  twelve  hundred 
portraits  of  generals  and  officers,  both  English  and 
American,  about  fifty  of  which  are  of  Washington, 
with  battle-scenes,  landscapes,  views,  mostly  proof, 
many  in  two  states  ;  twenty-five  unique  sketches 
by  Hamilton  and  Schuesseler,  together  with  about 
one  hundred  autograph  letters,  extending  the  orig- 
inal work  to  ten  volumes.  This  book  the  doctor 
considers  the  chef  d'oeuv7^e  of  his  collection,  and  "it 
will  not  be  finished,"  says  he,  "  until  I  am  gone." 

68 


And  now  comes  Tom  Moore's  "  Odes  of  Anac- 
reon,"  the  Stockdale  quarto  edition  of  1805.  ^^ 
contains  about  one  hundred  and  fifty  prints,  the 
majority  of  which  have  been  colored  to  order  by 
M.  Goupil,  of  Paris,  and  some  by  Doctor  Koecker 
himself.  This  is  truly  a  beautiful  book,  and  has 
but  few,  if  any,  superiors  of  its  class  in  the  country. 

The  foregoing  are  a  few  only  of  the  examples  of 
Doctor  Koecker's  privately  illustrated  books;  his 
subjects  cover  a  large  field,  and  are  very  numerous. 
Besides  his  illustrated  books,  his  library  contains 
over  three  thousand  volumes  of  carefully  selected 
works,  including  many  scarce  items  in  American 
history,  as  well  as  the  choicest  editions  of  the  most 
popular  English  authors. 

The  late  venerable  Evert  A.  Duyckinck,  of  New- 
York,  the  personal  friend  and  companion  of  John 
Allan,  passed  his  life  in  an  atmosphere  of  literature. 
He  founded  "The  Literary  World"  in  1847,  and 
published  the  "  Cyclopaedia  of  American  Litera- 
ture" in  1856.  He  privately  illustrated  a  great 
many  valuable  books,  all  of  which  are  now  in  the 
Lenox  Library,  pursuant  to  a  provision  of  his  will. 
Among  them  are  Duyckinck's  "  Cyclopaedia  of 
American  Literature,"  extended  from  two  to  eight 
volumes  by  the  insertion  of  hundreds  of  portraits, 
many  valuable  autographs,  and  some  views ;  inlay- 
ing   done    by  Moreau ;     bound  by  R.  W.   Smith. 

69 


"  The  Pursuits  of  Literature,  a  Satirical  Poem," 
etc.,  by  T.  J.  Mathias,  extended  from  one  to  three 
quarto  volumes.  Henry  T.  Tuckerman's  "  Artist 
Life,  or  Sketches  of  American  Painters,"  extended 
from  one  to  two  volumes.  "  Scribleomania,  or  the 
Printer's  Devil's  Polychromicon,"  extended  from 
one  to  two  volumes,  with  characteristic  illustra- 
tions. There  are  ten  large  scrap-books  of  proofs 
of  Doctor  Anderson's  wood-engravings  from  the 
original  plates.  W.  Irving's  "Sketch  Book,"  ex- 
tended, by  the  insertion  of  portraits,  views,  and 
original  drawings,  to  three  volumes;  inlaid  by 
Moreau ;  bound  by  R.  W.  Smith. 

Also,  a  "Collection  of  Facts  and  Documents  Re- 
lating to  the  Death  of  Major-general  Alexander 
Hamilton,"  1804;  illustrated  by  many  portraits, 
with  all  the  known  portraits  of  Hamilton,  autograph 
letters,  views  at  Hoboken,  drawings,  clippings  from 
contemporaneous  newspapers,  and  much  other  in- 
teresting matter  on  this  subject,  in  one  thick  folio 
volume.  The  amount  of  material  deposited  by  Mr. 
Duyckinck  in  this  library  was  very  great;  there 
were  over  one  hundred  privately  illustrated  volumes, 
many  portfolios  of  portraits,  views,  sketches,  and 
drawings  ;  many  scrap-books,  and  other  valuable 
historical  souvenirs  difficult  to  be  described  here. 

There  is  an  extra-illustrated  copy  of  "  The  Pur- 
suits of  Literature  "  in  this  librarv,  in  four  folio  vol- 

70 


umes,  attributed  to  Mr.  Lenox.  It  is  a  noble  book. 
Also  another,  being  "  An  Essay  on  the  Summer  En- 
tertainments in  the  Neighborhood  of  London,"  by 
Humphry  Ouearmoode,  1750.  It  is  illustrated  by 
one  hundred  and  seventy-eight  extraordinary  prints, 
many  very  curious  old  mezzotints,  engravings,  and 
etchings.  Humor  and  Folly  are  impersonated  here. 
Among  the  full-length  portraits  there  is  one  of  Miss 
Chudleigh,  Duchess  of  Kingston,  and  a  proof-print 
of  the  notorious  Mrs.  Cole,  and  many  other  beau- 
ties.    This  book  also  belonged  to  Mr.  Lenox. 

There  is  quite  a  remarkable  book,  extra-illus- 
trated, in  the  Drexel  Musical  Library  (a  depart- 
ment in  the  Lenox).  It  was  illustrated  by  Mr. 
Joseph  W.  Drexel.  It  is  "Memoirs  of  Music." 
Also  "  Hon.  Roger  Smith,"  by  Edward  F.  Rimbault, 
LL.  D.,  F.  R.  S.,  London,  1846,  one  volume,  inlaid 
to  quarto,  and  illustrated  by  two  hundred  addi- 
tional portraits,  engravings,  autographs  of  musi- 
cal composers,  manuscript  music,  title-pages  of 
music,  etc.  Dr.  Rimbault  was  the  author  of  sev- 
eral important  works  on  music,  among  which  was 
"  Bibliotheca  Madrigaliana,"  also  to  be  found  in 
this  collection. 

There  is  another  work  here  that  ought  not  to  be 
passed  over  in  silence.  It  is  "  Reminiscences  ol 
Newport,  R.  I.,"  illustrated  by  the  author,  George 
Champhin    Mason,   and  presented    to    the   Lenox 

71 


Library  ;  one  volume,  extended  to  six  stout  folios 
by  the  insertion  of  hundreds  of  portraits,  autograph 
letters,  and  views  concerning  the  early  and  modern 
history  of  Newport. 

It  was  our  original  design  in  this  monograph  to 
limit  researches  to  the  city  of  New-York,  but  such 
a  glorious  field  opens  before  us  outside  of  the  me- 
tropolis that  we  have  resolved  not  to  entirely  ex- 
patriate, simply  for  geographical  reasons,  all  of 
those  admirable  collections,  some  of  which  are  the 
most  remarkable  in  the  country.  For  instance,  the 
library  of  J.  Carter  Brown,  of  Providence,  which 
consists  of  eleven  thousand  volumes,  and  has  an 
estimated  value  of  nearly  $200,000.  It  is  specially 
rich  in  privately  illustrated  books.  We  instance 
Irving's  "  Life  of  George  Washington,"  extended  to 
ten  stout  volumes  by  the  addition  of  over  one  thou- 
sand prints;  also  Marshall's  "Washington,"  in  ten 
quarto  volumes;  Louis  Adolphe  Thiers's  "French 
Revolution,"  in  large  paper,  extended  to  ten  volumes. 
These  volumes  contain  many  hundreds  of  fine  por- 
traits in  proof  and  on  India  paper. -^  Also,  James 
Boswell's  "Life  of  Samuel  Johnson,"  the  first  quarto 
edition,  extended  from  two  to  six  volumes,  with  one 
hundred  and  seventeen  portraits  of  Johnson;   this 

1  Among  which  are  Robespierre,  George  James  Danton,  M.  Elie  Gaudet, 
Jean  Baptiste  Clootz,  Thomas  Paine,  Camille  Desmoulins,  Jean  Pierre 
Brissot,  Bertrand  Barere,  Jean  Paul  Marat,  Charlotte  Corday,  Antoine  Merlin 
de  Thionville,  Madame  Roland,  Jerome  Petion,  Philippe  Merlin  de  Douai, 
and  many  others. 

72 


is  the  largest  collection  known.  Leslie,  the  Eng- 
lish collector  of  "  Johnsoniana,"  had  only  ninety- 
eight.  Also,  "The  Johnsonian,"  the  large-paper 
extended  from  one  to  three  volumes;  this  book 
is  the  delight  of  collectors.  And  then  Thomas  F. 
Dibdin's  various  bibliographical  works,  on  large 
paper  and  illustrated.  The  "Tour  in  Germany" 
is  extended  from  three  to  six  volumes.  Then 
come  "Old  Faithful,"  Isaac  Walton's  "Angler," 
and  the  "  Decameron,"  with  over  five  hundred  in- 
serted portraits.  Oliver  Cromwell,  Nell  Gwynne, 
and  John  Hampden.^  "Mary  Queen  of  Scots," 
of  whom  there  were  two  lives,  one  by  George 
Chalmers,  and  the  other  the  new  life  (by  Petit), 
each  in  two  quarto  volumes  and  both  elaborately 
embellished,  having  more  than  forty  different  por- 
traits of  the  unfortunate  Mary.  There  are  also 
Queen  Elizabeth,  and  Sir  Philip  Sidney,  the  most 
brilliant  luminary  of  her  reign,  and  about  two 
hundred  others. 

It  would  accord  with  our  tastes  to  enter  more 
completely  into  a  detail  of  this  wonderful  literary 
repository,  but  time  and  the  nature  of  the  collec- 
tion will  not  permit  us  consistently  so  to  do.     We 

1  John  Hampden  and  his  party,  of  whom  were  John  Pym,  William  Fielding, 
Archibald  Campbell,  John  Graham,  Oliver  Cromwell,  Edward  Sackville, 
Robert  Glenville,  William  Harvey,  M.  D.,  and  Sir  Bevill  Glenvil,  were  a 
power  in  England.  Hampden  has  been  compared  by  Macaulay  to  Washing- 
ton. Hampden  and'Cromwell  at  one  time  had  taken  passage  to  America.  The 
ship  was  ready  to  sail  when  the  order  of  permission  was  revoked  by  the  council. 

73 


therefore  refer  the  curious  on  this  subject  to  the 
"  Bibliographical  History  "  of  this  library,  by  Hon. 
John  R.  Bartlett,  in  four  volumes  royal  octavo, 
the  most  complete  ever  prepared  on  this  continent, 
only  fifty  copies  of  which  were  printed  for  circula- 
tion. The  first  two  volumes  sold  at  auction  in 
Leipsic,  1873,  for  $130  each,  to  the  learned 
Russian,  M.  Sobolewski. 

In  the  bindings  of  Mr.  Brown's  library  are  rep- 
resented the  names  of  Hayday,  Bedford,  Petit, 
Lortic,  Matthews,  and  others. 

Mr.  Bartlett,  also,  has  a  large  collection  of  extra- 
illustrated  books,  among  which  is  Bryan's  "  Dic- 
tionary of  Painters,"  extended  to  ten  volumes,  with 
its  two  thousand  inserted  portraits  of  painters  and 
specimens    of  their  works  ;    also,  James  Parton's 
"  Life  of  Franklin,"  in  four  imperial    octavo  vol- 
umes;  Jeremiah  Holme  Wiffen's  "Memoirs  of  the 
House  of  Russell "  (Wififen  was  translator  of  the 
poems  of  Garcilasso  de  la  Vega),  with  nearly  two 
hundred  portraits;  also,   Mr.  Bartlett's  own  "Me- 
moirs   of   Rhode  Island,"  extended  to  two   bulky 
quartos,  and  enriched  with  two   hundred  engrav- 
ings, portraits,  and  scenes  of  battles.     Before  leav- 
inof    Mr.   Bartlett's  collection  of  extended  books, 
reference    must    be    made    to    Albert    Gallatin's 
"Peace    with    Mexico,"    published    in    1847,   with 
many  letters  addressed  to  Mr.  Gallatin  upon  the 

74 


subject  of  the  work  in  hand,  with  a  vast  number  of 
newspaper  clippings  —  the  whole  forming  a  rich 
mass  of  material  concernino-  the  Mexican  war  — 
and  reminiscences  of  Mr.  Gallatin,  which  were 
probably  the  foundation  of  the  work  afterward 
published  by  Mr.  Bartlett,  entitled  "  Reminiscences 
of  Albert  Gallatin." 

There  is  an  attractive  collection  of  books,  con- 
sisting of  about  five  thousand  volumes,  belonging 
to  Mr.  Alexander  Farnham,  of  Providence.^  It 
contains  many  privately  illustrated  works,  as 
Irving's  "  Life  of  Washington";  Samuel  Rogers's 
"  Pleasures  of  Memory,"  a  delightful  book  by  a 
man  who  did  nothing  rashly;  "The  Print  Col- 
lector," Maberly;  "Life  and  Letters  of  Wash- 
ington Irving";  "The  Task,"  by  William  Cow- 
per,  "  Bard  of  Olney,"  inlaid  to  quarto,  and  illus- 
trated with  a  great  many  proof-prints,  autograph 
letters,  etc.  Lord  Byron's  "English  Bards  and 
Scotch  Reviewers."  This  is  the  work  gotten  up 
by  William  Upcott,  of  London,  a  man  famous  for 
his  love  of  literary  rarities  ;  it  was  in  four  folio 
volumes,  and  subsequently  belonged  to  John  Allan, 
at  whose  sale  Mr.  Farnham  purchased  it.  William 
Dunlap's  "History  of  the  Rise  and  Progress  of 
the  Arts  of  Design    in    the  United  States,"    ex- 

1  The  library  of  Mr.  Farnham  was  sold  by  George  A.  Leavitt  &  Co.,  in 
1884,  four  years  after  the  preparation  of  this  article.  The  books  were 
dispersed. 

75 


tended  from  two  to  four  volumes.  All  of  the 
above-named  extra-illustrated  works  were  pur- 
chased at  the  Allan  sale.  We  are  not  aware 
that  Mr.  Farnham  did  any  illustrating  on  his 
own  account.  And  while  we  extol  the  achieve- 
ments of  the  private  illustrator,  we  would  by  no 
means  underestimate  the  services  to  literature  of 
the  man  who  collects  and  stores  these  literary 
monuments.  It  is  through  such  means  that  we 
may  hope  vast  quantities  of  the  most  valuable  ma- 
terial will  eventually  find  a  resting-place  in  some 
of  our  public  institutions.  The  Lenox  Library  has 
already  become  the  depository  of  incalculable  his- 
torical wealth,  where,  we  trust,  it  is  safe  from  the 
hand  of  vandalism. 

The  great  services  rendered  by  Mr.  Farnham 
were  in  the  field  of  bibliography.  In  the  make- 
up of  his  library,  such  was  his  knowledge  of  books 
that  he  made  no  mistakes;  they  were  of  the  finest 
and  rarest  editions. 

We  give  below  a  synopsis  of  the  privately  illus- 
trated books  of  H.  F.  Sewall,  of  New- York;  the 
list,  which  is  here  given  with  but  little  detail,  em- 
braces a  very  interesting  class  of  books,  and  only 
those  illustrated  personally  by  Mr.  Sewall.  His 
books  purchased  already  illustrated  are  not  included. 

S.  Spooner's  "Dictionary  of  Artists,"  two  vol- 
umes, large  paper.   New- York,  1865,  extended  to 

76 


twelve,  and  illustrated  by  the  insertion  of  twenty- 
eight  hundred  and  fourteen  engravings,  drawings, 
and  photographs,  consisting  of  many  portraits. 
Bound  in  russia,  extra,  leather  joints,  by  R.  W. 
Smith. 

Michael  Bryan's  *'  Dictionary  of  Painters  and 
Engravers,"  two  volumes,  London,  1816,  extended 
to  ten  volumes  by  the  insertion  of  nineteen  hun- 
dred and  ninety-eight  engravings,  many  valuable 
pieces  among  them.     Levant,  R,  W.  Smith. 

Thomas  Wilson's  "Catalogue  Raisonne  of  an 
Amateur  of  Ancient  Prints,"  extra-illustrated  by 
two  hundred  and  six  eminently  appropriate  prints, 
many  of  which  are  very  fine  and  all  in  superb  con- 
dition. Bound  in  levant  by  Aitken,  London.  An- 
other copy  of  the  same  work,  one  hundred  and 
sixty  prints  added. 

"  L'Qiuvre  Complet  de  Rembrandt,"  with  etch- 
ings and  woodcuts  by  L.  Flameng  and  others, 
Paris,  1865,  extended  by  the  addition  of  one  hun- 
dred and  thirty-five  prints,  comprising  original 
Rembrandt  etchings  and  copies,  formed  a  part  of 
this  library ;  also,  another  copy  of  the  same  work, 
a  revised  edition,  Paris,  1873,  with  two  hundred 
and  one  prints  inserted,  seventy  original  etchings 
of  Rembrandt  included,  bound  by  R.  W.  Smith, 
New-York  ;  also,  "Rembrandt  and  his  Works,"  by 
John    Burnet,   with    one    hundred   and  twenty-six 


illustrations,  and  some  original  etchings  by  Rem- 
brandt inserted. 

Here  was  also  "The  Life  of  Joseph  M.  W, 
Turner  and  his  Works,"  by  Burnet  and  Cunning- 
ham, quarto,  London,  1852,  with  one  hundred  and 
twenty-four  extra  illustrations,  consisting  of  por- 
traits and  prints  by  and  after  Turner. 

Also,  "  The  Passio  Christi  "  of  Albert  Diirer, 
the  thirty-seven  woodcuts  of  the  smaller  passion 
reproduced  in  facsimile,  and  edited  by  Mr.  Prime, 
extra-illustrated  by  the  addition  of  all  the  original 
woodcuts  and  a  great  number  of  other  illustrations, 
prints  by  Diirer  and  others;  also  Henry  Cole's  re- 
production of  impressions  from  the  original  blocks, 
with  the  text  all  inlaid  to  match. 

Thomas  F.  Dibdin's  "  Bibliomania,"  American 
edition,  one  of  forty  copies,  quarto,  one  hundred 
and  seventeen  inserted  illustrations;  also,  "  Bib- 
liophobia,"  London,  1832,  one  hundred  and  thirty- 
six  extra  illustrations ;  also,  "  Tour  to  the  North  of 
England  and  Scotland,"  two  volumes  extended  to 
three,  London,  1838,  one  hundred  and  twenty-seven 
illustrations;  also,  "Library  Companion,"  second 
London  edition,  1825,  extended  to  two  volumes  by 
the  addition  of  two  hundred  and  twelve  prints ; 
also,  "  Tour  in  France  and  Germany,"  two  volumes 
extended  to  three,  three  hundred  and  six  prints 
inserted  —  all  bound  by  R.  W.  Smith.      "Memorial 

78 


of  John  Allan,"  illustrated  by  seventy-one  inserted 
prints.  "  Memoirs  of  Edward  Everett,"  1865  ;  sev- 
enty-five copies  only ;  eighty-four  prints  inserted. 
"John  Trumbull's  Autobiography,  Reminiscences, 
and  Letters  from  1756  to  1 841,"  with  designs  by 
the  author,  extended  to  two  volumes  by  the  inser- 
tion of  one  hundred  and  sixty-four  extra  prints. 
"  Memoirs  of  Anthony  Van  Dyck,"  by  W.  H.  Car- 
penter, and  descriptive  catalogue  of  his  etchings  ; 
a  presentation  copy  to  A.  Cooper,  R.  A. ;  illustrated 
with  a  set  of  the  portraits  etched  by  Van  Dyck, 
nearly  complete,  and  numerous  other  portraits 
after  him  —  one  hundred  and  sixty-eight  in  all. 
"  Iconographie  de  Antoine  Van  Dyck,"  by  Fr. 
Wiberal,  illustrated  by  portraits  and  etchings  of 
Van  Dyck,  and  a  number  of  his  from  the  "  Cen- 
tum Icones" — one  hundred  and  nine.  "  Pursuits 
of  Literature,"  T.  J.  Mathias,  London,  181 2,  large 
paper,  extended  to  two  volumes  by  the  insertion 
of  four  hundred  prints,  mostly  portraits.  Another 
copy,  extended  to  folio,  illustrated  by  three  hundred 
and  seventy  very  fine  prints.  "Annals  of  the  Eng- 
lish Stage,"  Dr.  Doran,  extended  to  six  volumes  by 
the  insertion  of  seven  hundred  and  twenty-eight 
portraits,  views,  etc.;  bound  by  William  Smith, 
New-York.' 

1  There  are  few  books  which  present  greater  attractions  to  the  ilUistrator 
of  the  drama  than  this  chatty  work  of  Dr.  Doran  on  the  EngHsh  stage  ; 
certainly  no  book  has  been  so  often  illustrated.     The  greatly  advanced  price 

79 


Also,  "  Catalogue  Raisonne  of  the  Prints  of  Hans 
Sebald  Beham"  (W.  J.  Loftie),  extra  edition,  illus- 
trated by  eighty-six  of  his  original  ancient  prints. 
"  Catalogue  Raisonne  d'une  Collection  de  Portraits 
graves  par  et  apres  Antoine  Van  Dyck,"  illustrated 
by  fifty-six  portraits  after  Van  Dyck,  bound  by  Paw- 
son  &  Nicholson;  also,  "  Memoirs  of  Anthony  Van 
Dyck."  "Catalogue  Raisonne  de  toutes  les  Es- 
tampes  de  Rembrandt "  (Adam  Bartsch),  extra 
etchings,  mostly  by  Rembrandt;  Vienna,  1797. 
"Catalogue  Raisonne  de  I'CEuvre  de  J.  G.  Wille" 
(Chas.  Le  Blanc),  twenty-five  prints  by  Wille  in- 
serted ;  Leipsic,  1847.  Philip  Gilbert  Hamerton's 
"Etching  and  Etchers,"  extended  to  two  volumes 
by  the  insertion  of  three  hundred  and  sixteen  appro- 
priate prints,  many  in  a  very  fine  state.  All  the 
above  are  beautiful  specimens  of  privately  illus- 
trated books. 

Mr.  Sewall  has  also  privately  illustrated  "Vie  et 
Ouvrages  de  Jacques  Callot,"  augmenti  by  one 
hundred  and  sixty-four  prints  by  and  after  Callot. 
Dr.  John  W.  Francis's  "Old  New  York,"  extended 
to  three  volumes  by  the  addition  of  five  hundred  and 
thirty-six  prints.      Irving's  "  Life   of  Washington," 

of  dramatic  prints,  compared  with  ten  years  ago,  must  retard  the  future  illus- 
tration of  dramatic  works ;  for  illustrators  are  already  beginning  to  hesitate 
before  embarking  in  these  enterprises.  A  five-volume  edition  of  this  book, 
with  seven  hundred  prints  added,  sold  in  the  Daly  sale  about  twenty  years 
ago.  It  cost  its  owner  nearly  five  hundred  dollars  ;  the  same  work  illustrated 
to-day  would  cost  twenty-three  hundred. 

80 


extended  to  five  volumes.  Samuel  G.  Drake's 
"History  and  Antiquities  of  Boston,"  extended  to 
two  volumes.  James  Boaden's  "  Shakspere  Por- 
traits," one  hundred  and  eighty  prints.  "  Life 
and  Death  of  Cardinal  Wolsey,"  by  Park.  "The 
Croakers,"  Drake  and  Halleck.  Lossing's  "  Hud- 
son," two  hundred  and  sixteen  illustrations,  ex- 
tended to  three  volumes.  "English  Bards  and 
Scotch  Reviewers,"  Byron.  Duyckinck's  "  Cyclo- 
paedia of  American  Literature,"  large  paper,  one 
hundred  and  sixty  illustrations.  "Life  and  Works 
of  Albert  Diirer,"  Scott,  extended  to  two  volumes  ; 
another,  Paris,  1878,  Thausing,  extended  to  three 
volumes,  three  hundred  and  four  prints.  "Madame 
Reidesel,"  fifty-one  prints  added.  "Trip  of  the 
Oceanus,"  with  fifty  illustrations.  Three  copies 
of  the  Maberly  "Print  Collector,"  including  the 
large-paper  of  the  Hoe  edition,  extended  to  two 
volumes,  three  hundred  and  twenty  prints  added. 
"Henry  Laurens's  Correspondence"  ;  "Memoirs  of 
James  W.  Wallack " ;  W.  S.  Baker's  "American 
Engravers  and  Their  Works  " ;  "Engraving  and  the 
Early  History  of  Engraving,"  by  Ottley.  This 
by  no  means  exhausts  the  list  of  Mr.  Sewall's 
privately  illustrated  books.  The  above  are  only 
those  of  his  own  illustrating.  One  remarkable  and 
admirable  feature  to  us  is  the  moderation  which 
pervades    the  whole  collection    in    the  number  of 

81 


prints  to  the  volume.  Mr.  Sewall  has  kept  thor- 
oughly within  good  taste.  In  many  instances, 
rather  than  overload  his  volumes,  he  has  duplicated 
the  work.  Cave  hominem  unius  libri,  says  the 
Latin  proverb,  which  inferentially  is  to  say  that  the 
man  of  many  may  be  trusted. 

It  would  be  an  endless  task  to  point  out  every 
latent  beauty,  every  unnoticed  elegance  which  char- 
acterizes this  unique  collection. 

There  was  also  the  library  of  John  A.  Rice, 
of  Chicago,  which  ranked  as  one  of  the  finest  col- 
lections of  books  in  America,^  with  its  nineteen- 
hundred-and-twenty-dollar  Dibdin,  in  six  thick 
volumes,  bound  in  olive  morocco  by  Lewis,  of  Lon- 
don,^ and  purchased  by  an  unknown  lady  of  Mas- 
sachusetts. Also,  "  Spooner's  Dictionary,  a  Bio- 
graphical History  of  the  Fine  Arts,"  two  volumes 
extended  to  ten  quarto  by  the  insertion  of  over 
one  thousand  engraved  portraits,  with  many  other 
prints  and  etchings.     This  work  was  prepared  in 

1  It  was  sold  in  New-York,  1870.  There  were  26S7  titles  in  the  cata- 
logue; the  aggregate  of  the  sale  was  $42,262.69. 

2  "  A  Biographical,  Antiquarian,  and  Picturesque  Tour  in  France  and 
Germany,"  by  Thomas  Frognall  Dibdin,  F.  R.  S.,  S.  A.  This  was  a  won- 
derful book,  3  volumes,  royal  octavo,  large  paper,  enlarged  to  six  very 
thick  volumes,  beautifully  bound  in  the  best  style  of  Charles  Lewis,  in  olive 
morocco,  beautifully  tooled  inside  and  out,  vellum  linings  and  fly-leaves. 
It  contained  numerous  portraits,  prints,  vignettes,  all  choice  proofs,  with  an 
extraordinary  series  of  prints  in  various  stages  of  engraving,  and  the  same 
print  very  frequently  in  two,  three,  and  four  different  states  —  viz.,  etchings, 
unfinished  proofs,  proofs  before  the  letters,  proofs  upon  India  paper,  and 
impressions  after  the  plates  were  canceled,  with  the  faience  print  colored 
after  the  original  drawing.     It  has  also  the  series  of  groups  illustrating  the 

82 


London;  it  sold  for  $700,  and  was  purchased  by 
the  same  lady,  who  modestly  confesses  to  slight 
symptoms  of  bibliomania.  Likewise  the  "  History  of 
the  United  States  Navy,"  by  J.  Fenimore  Cooper, 
in  two  volumes.  There  are  two  sets  of  this  last 
work.  Nothing  can  exceed  the  magnificence  ot 
a  little  volume,  by  Schuyler  Hamilton,  entitled 
"  History  of  the  National  Flag,"  inlaid  to  quarto  and 
containing  sixty-nine  inserted  prints,  many  proots 
on  India  paper,  with  a  great  variety  of  designs  for 
flags  and  for  the  great  seal,  bound  in  green  levant 
by  Pawson  &  Nicholson.  Also,  "Memoirs  of  Lieu- 
tenant-General  Winfield  Scott,  LL.  D.,"  written  by 
himself,  1 864.  This  elegant  book,  of  which  one  hun- 
dred copies  only  were  printed,  is  illustrated  by  sev- 
enty rare  prints,  inserted ;  bound  in  half  red  levant 
by  Matthews  ;  it  fetched  $87.50.  Irving's  "Wash- 
ington," five  volumes,  quarto,  extended  to  ten,  with 
forty-five  different  portraits  of  Washington,  bound 

physiognomy,  manners,  and  character  of  the  people  of  France  and  Germany, 
by  G.  R.  Lewis,  60  prints,  proof,  upon  India  paper,  with  numerous  dupHcates, 
in  various  stages  of  engraving,  some  of  which  were  altered,  and  a  privately 
printed  statement  respecting  the  prices  he  charged  for  the  sketches  and 
drawings  for  this  work,  which  was  afterward  suppressed.  It  contains  up- 
ward of  one  hundred  and  thirty-five  original  drawings,  by  the  following  emi- 
nent artists  :  Two  in  colors,  by  N.  Bevin  ;  27  in  colors,  by  T.  Bury ;  one  in  pen 
and  ink,  by  Correy  ;  one  in  pencil,  by  Dr.  Dibdin ;  7  in  colors,  by  B.  Ferry ; 
6  in  colors,  by  G.  Jones ;  22  original  tracings,  by  G.  R.  Lewis  ;  2  in  colors, 
by  T.  Mercer ;  6  in  colors,  by  J.  P.  Neale ;  15  in  colors,  by  W.  Price ; 
32  in  colors,  by  A.  W.  Pugin.  Also,  230  portraits  and  etchings.  This 
book  was  formerly  the  property  of  Sir  George  H.  Freeling,  Bart.,  London, 
and  he  was  over  twenty  years  in  gathering  the  material,  sparing  neither  labor 
nor  expense  to  make  it  the  finest  book  in  existence.  — Rice  Catalogue. 

83 


in  blue  morocco  (more  fully  described  in  the  Andrews 
Collection,  of  which  it  once  formed  a  part),  sold 
for  $980.  Here  was  also  Duyckinck's  "Cyclopae- 
dia of  American  Literature,"  extended  to  five  vol- 
umes, with  two  hundred  and  ninety-seven  portraits, 
views,  and  autographs  inserted,  in  half  brown  mo- 
rocco; it  fetched  $312.  Joel  Barlow's  "  Colum- 
biad,"  with  many  prints,  crushed  levant,  by  Bed- 
ford, fetched  $145.  "English  Bards  and  Scotch 
Reviewers,"  fifty  rare  prints  on  India  paper  inserted. 
Jared  Sparks's  "  Life  of  Washington,"  two  volumes, 
one  hundred  and  fourteen  prints,  inlaid  by  Trent, 
$76.  James  Wynne's  "  Private  Libraries  of  New- 
York,"  large  paper,  one  hundred  and  three  scarce 
prints,  mostly  proof,  inlaid  by  Trent,  $176.  Dr. 
Doran's  "  Annals  of  the  Stage,"  two  volumes  ex- 
tended to  five,  six  hundred  portraits,  covering  a 
period  from  Betterton  to  Mathews.  "  Irvingiana, 
a  Memorial  of  Washington  Irving,"  large  paper; 
all  the  prints  are  India  proof;  also,  a  manuscript 
page  in  Irving's  own  hand.  "  Rabelais,"  four  vol- 
umes, seventy-five  prints  added.  "The  Croakers," 
fifty-three  prints,  many  very  rare.  This  library, 
with  its  three  hundred  privately  illustrated  books, 
sold  for  $42,000  —  a  deficit  of  many  thousands  of 
dollars  on  its  original  cost.  Among  the  binders  are 
David,  Bedford,  Pratt,  Lewis,  Matthews,  Brad- 
street,   Smith,   Pawson  &    Nicholson. 

84 


The  library  of  Andrew  Wight,  of  Philadelphia, 
deserves  honorable  mention.  It  was  in  many 
respects  a  remarkable  collection.  It  contained 
Irving's  "  Washington,"  extended  to  ten  volumes 
by  the  insertion  of  fifteen  hundred  illustrations,  one 
hundred  and  fifty-one  portraits  of  Washington, 
sixty-two  of  Franklin,  and  eighteen  portraits  of 
Washington  Irving,  autograph  letters  of  Irving,  R. 
Morris,  Jefferson,  Hamilton,  Adams,  and  Lafayette 
(unbound),  sold  in  1864  for  $775.  Here  was  also 
Edward  Everett's  "Life  of  Washington,  "illustrated. 

This  beautiful  set  of  "  Washingtoniana  "  was  sup- 
plemented by  Sanderson's  "  Signers  of  the  Decla- 
ration of  Independence,"  in  nine  volumes,  royal  oc- 
tavo, said  to  have  been  the  finest  copy  ever  sold ; 
also,  another  copy  of  the  same  work,  extended  to 
nine  volumes.  Also,  a  "Biographical  History  of 
England,"  in  six  volumes,  with  three  hundred 
prints  inserted.  This  famous  book  was  the  first 
book  known  to  have  been  privately  illustrated.  It 
was  the  work  of  James  Granger,  the  Vicar  of  Ship- 
lake,  in  1 769,  from  whom  sprang  the  present  race 
of  grangerites.  "  Complete  Angler,"  Bethune, 
one  volume  extended  to  two,  illustrated  by  one 
hundred  and  forty-nine  portraits  and  five  autograph 
letters  of  Dr.  Bethune. 

Mr.  Wiofht  also  illustrated  Clarendon's  "  Re- 
bellion,"  extending  it  to  ten  volumes. 

85 


Nor  must  we  slightingly  pass  over  the  now  dis- 
persed library  of  William  Menzies,  Esq.,  of  New- 
York,  sold  in  1876,  by  Joseph  Sabin,  at  Leavitt's 
auction-rooms.  The  superlative  adjectives  em- 
ployed by  Mr.  Sabin  in  the  catalogue  of  this  un- 
rivaled collection  are  enough  to  make  one's  brain 
swim.  There  was  the  Irving  "  Life  of  Washing- 
ton," extended  from  five  to  ten  volumes,  and  with 
themanuscriptof"  Guilford  Court  House,"  Chapter 
XX.,  in  the  handwriting  of  the  author,  making  an- 
other volume,  and  Tuckerman's  "  Character  of  the 
Portraits  of  Washington"  another  —  in  all,  seven 
volumes,  extended  to  twelve,  with  seventeen  hundred 
inserted  illustrations,  mostly  proof,  two  hundred  and 
twenty-two  of  which  were  portraits  of  Washington, 
and  sixty-two  water- colors  and  drawings  of  the  vari- 
ous headquarters  of  Washington,  besides  ninety- 
eight  autograph  letters — ten  of  Washington.  The 
binding  is  by  Matthews,  in  green  morocco,  beauti- 
fully tooled  outside  from  designs  made  expressly 
for  the  work,  with  watered-silk  linings,  morocco 
joints,  etc.,  and  cost  alone  $900.  It  is  said  to  be  a 
masterpiece  of  the  binder's  art.  This  wonderful 
book  sold  at  the  Menzies  sale,  in  1876,  for  $4080, 
and  is  now  in  the  possession  of  a  New- York  collec- 
tor.   No  amount  of  money  could  duplicate  this  work. 

Here  was  also  the  sumptuous  Abbotsford  edition 
of  the  "  Waverley  Novels,"  large  paper,  extended 

86 


to  twenty-four  volumes  by  the  insertion  of  three 
hundred  and  fifty  additional  illustrations,  consisting 
of  a  complete  unlettered  India-proof  set  of  Scott's 
female  characters  issued  for  the  edition  of  1829; 
also,  complete  set  of  genuine  proofs  before  issue  for 
the  edition  of  1852  ;  complete  set  of  Finden's  land- 
scapes before   issue ;   complete  set  of  Scott's  his- 
torical    portraits,    India    proofs ;    illustrations    to 
Kenil worth,   complete  India  proof,    with    Lodge's 
portraits   and  others,   bound   in    green   levant   by 
Matthews.     It  sold   for  $850  ;  William   Dunlap's 
"  History  of  the  Rise  and  Progress  of  the  Arts  of 
Design  in  the  United    States,"  two  volumes    ex- 
tended   to   six,   with  rubricated   titles    and   India- 
proof  vignettes.      The    portrait   of  nearly    every 
prominent  American  artist  mentioned  in  the  book 
has  been  inserted  ;  also  engraved  specimens  of  their 
work.     The  illustrations  exceed  five  hundred.      It 
fetched    $318.     As    complements    to    the    above 
are  Thomas  A.  Cummings's   "  Historic  Annals  of 
the    National    Academy   of    Design,     New- York 
Drawing   Association,"  etc.,   with  thirty-five  col- 
ored illustrations    inserted,  making  two    beautiful 
volumes,   and   Bailey's   "Records    of   Patriotism," 
one  volume  extended  to  two,  seventy-four  prints 
inserted. 

This  library  contained  also  Walton's  "  Complete 
Angler";    Dr.   Francis's   "Old  New- York,"  large 

87 


paper,  one  hundred  only  printed,  extended  to  four 
volumes  by  the  addition  of  five  hundred  illustra- 
tions, portraits  and  views  of  which  two  hundred 
are  proofs,  India  proofs,  and  proofs  before  letters, 
several  private  plates  from  water-color  drawings. 
It  fetched  $240.  "  The  Works  of  Benjamin  Frank- 
lin," ten  volumes,  with  one  hundred  choice  illus- 
trations, six  very  rare  portraits  of  Franklin ;  also, 
"  Franklin's  Letters,"  only  ten  printed,  with  twenty- 
five  proof  portraits  inserted.  Charles  Knight's 
"Pictorial  Shakspere,"  extended  to  nine  volumes, 
with  five  hundred  and  thirty  portraits  and  views 
inserted,  all  of  which  are  proof,  India  proof,  and 
proof  before  letters,  bound  by  Matthews.  These 
volumes  sold  for  $252.^  "  Life  and  Works  of  Rob- 
ert Burns :  an  Essay  on  his  Genius  and  Character," 
by  Professor  Wilson,  1852,  with  autograph  manu- 
script of  Burns  inserted,  one  hundred  portraits  and 
views,  including  a  proof  set  of  Stover  and  Greig's 
views ;  also  a  set  of  the  illustrations  to  Currie's 
"Burns,"  numerous  India-proof  vignettes,  head  and 

1  No  pretensions  are  made  toward  giving  the  pedigree  of  illustrated  books 
in  this  treatise,  except  where  present  owners  have  volunteered  it.  It  would 
be  quite  unpleasant  to  trace  a  gentleman's  prized  books  through  a  series  of 
owners,  speculators,  and  sales  of  assignees  or  executors  (an  easy  thing  to 
do).  In  refusing  to  do  this,  I  am  aware  that  I  am  open  to  the  charge  of 
describing  the  same  book  more  than  once,  which  has  been  done  in  one  or 
two  cases,  and  which  cannot  be  avoided  without  breaking  faith  with  those 
who  have  kindly  permitted  the  use  of  their  names  and  libraries.  Our  list 
is  made  up  generally  of  the  names  of  gentlemen  who  have  done  their  own 
work,  and  yet  we  must  confess  that  there  are  many  owners  of  fine  collections 
who  have  "  plowed  with  Samson's  heifer  " ! 

88 


tail  pieces  mounted  by  Trent ;  the  original  man- 
uscript of  the  "Elegy  on  the  Year  1788";  also 
an  occasional  poetic  effusion  written  and  signed 
by  Agnes  McLehose,  the  Clarinda  of  Burns ; 
autograph  note  of  Allan  Cunningham.  It  fetched 
$130.  "Washington  Irving's  Life  and  Works." 
"  Blennerhassett  Papers,"  embodying  private  jour- 
nal of  Harman  Blennerhassett  and  hitherto  un- 
published correspondence  of  Burr,  Alston,  Comfort 
Tyler,  Devereaux,  Dayton,  Adair,  Miro,  Emmet, 
Theodosia  Burr,  Alston,  Mrs.  Blennerhassett,  and 
others ;  sixteen  of  the  rarest  portraits  inserted. 
Horace  Walpole's  "Anecdotes  of  Painters."  The 
last  is  in  five  volumes.  Major's  large  copy,  con- 
taining in  addition  the  series  of  India-proof  en- 
gravings, and  a  duplicate  set  of  one  hundred  and 
seventy  pieces,  all  artist's  unlettered  proofs,  of 
which  only  six  sets  were  taken  and  all  for  presen- 
tation. This  is  the  only  set  ever  sold  in  America. 
"  In  the  good  old  times  of  the  Bibliomania,  this 
work  would  have  walked  of  its  own  accord  into 
the  mahogany  bookcases  of  the  London  collec- 
tors." (Dibdin.)  Cadwallader  Colden's  "Life  of 
Robert  Fulton,"  autograph  letters  and  forty  en- 
gravings ;  also,  James  Barton's  "  Life  of  Andrew 
Jackson,"  two  volumes,  four  autograph  letters  of 
Jackson  and  ninety  prints  inserted ;  George  W. 
Custis's  "Recollections  of  Washington,"  one  vol- 

89 


lime  extended  to  two,  ninety  prints  added  ;  "Life  of 
Thomas  Jefferson,"  by  H.  S.  Randall,  three  vol- 
umes, with  ninety  illustrations;  "Memoirs  of  De 
Witt  Clinton,"  by  Dr.  Hosack,  one  volume  ex- 
tended to  two  by  inserting  over  one  hundred 
portraits  and  views,  India-proof,  including  seven 
portraits  of  Clinton,  autograph  note  signed.  John 
Sanderson's  "Biographies  of  the  Signers  of  the 
Declaration  of  Independence,"  extended  to  nine 
volumes  imperial  octavo.  This  book  was  from  the 
Andrew  Wight  collection  ;  it  was  the  Philadelphia 
edition  of  1 8  20  -  2  7.  Also  another  copy  of  the  same 
in  nine  volumes,  with  one  hundred  illustrations, 
first  proof  and  India-proof,  inserted  ;  and  still  an- 
other copy  in  nine  volumes,  the  Conrad  edition 
of  1852,  with  sixty-four  illustrations,  and  Brother- 
head's  "Residences  of  the  Signers." 

There  was  also  a  volume  of  autograph  letters, 
notes,  circulars,  and  documents,  with  some  por- 
traits of  the  signers  in  quarto,  bound  by  Bedford. 
It  contained  a  complete  set  of  autograph  letters 
by  the  signers,  embracing  sixty-four  manuscript 
letters  and  twenty-nine  portraits,  with  rubricated 
title  and  table  of  contents.  This  is  a  very  valuable 
collection  ;  it  fetched  $290,  much  under  its  value 
(1876).  Also,  "Life  of  Major  Andre,"  by  Winthrop 
Sargent,  with  fifty-six  inserted  illustrations,  thirty 
of  which  are   proof;   portrait   of  Miss   Sneyd,   by 

90 


Hopwood,  proof;  one  in  tint  by  Bartolozzi,  proof 
before  letters.  Mrs.  Mercy  Warren's  "American 
Revolution,"  three  volumes,  with  portraits  of  Tarle- 
ton  and  Lafayette  in  proof,  and  about  one  hun- 
dred and  forty  contemporaneous  prints  inserted. 
John  Frederick  Schroeder's  "Washington,"  and 
many  other  works  on  American  biography  and 
history,  including  William  H.  Prescott's  "Bio- 
graphical and  Miscellaneous  Essays."  Alexander 
Garden's  "Anecdotes  of  the  American  Revolution," 
large  paper,  by  Thomas  W.  Field.  All  sumptuously 
illustrated.  No  space  or  time  at  our  command 
would  be  sufficient  to  give  in  detail  the  Americana 
of  this  wonderful  collection.  "Briefly,"  says  Mr. 
Sabin,  "  this  Americana  has  not  been  excelled  in 
attractiveness  or  importance  by  that  of  any  other 
collection  ever  offered  for  sale  in  this  country." 

The  collection  of  Thomas  F.  Dibdin's  works  con- 
sists of  fifty -three  volumes,  with  over  two  thousand 
high-class  illustrations.  Never  were  so  many  proof, 
India-proof,  and  proof  before  letters  brought  to- 
gether to  adorn  one  work.  This  extraordinary 
collection  of  Dibdin  has  been  made  at  a  vast  ex- 
pense in  time  and  money.  Only  years  of  diligent 
research  and  waiting  could  accomplish  this  work. 
Another  such  will  probably  never  again  be  brought 
together.  The  binding,  which  is  by  Matthews,  is  in 
half  crushed  olive-brown  levant,  and  is  faultless. 

91 


No  description  of  this  wonderful  set  of  books 
within  the  province  of  this  monograph  could  fur- 
nish any  adequate  conception  of  its  magnificence/ 
It  sold  for  $1794. 

It  seems  that  we  shall  never  reach  a  point  where 
we  can  dismiss  this  inimitable  collection  of  illus- 
trated works.  Now  comes  Sir  John  Froissart's 
"  Chronicles  of  England,  France,  and  Spain."  It 
is  the  first  illustrated  copy  of  this  work  we  have 
yet  seen.  It  contains  seventy-two  illustrations  in 
gold  and  colors  of  the  first  issue  published  at  $60. 
Sir  Walter  Scott,  in  his  "Tales  of  My  Landlord," 
asks,  "  Did  you  ever  read  Froissart  ?  "  '*No,"  said 
Morton.  "Then  I  have  half  a  mind,"  said  Claver- 
house,  "to  contrive  to  have  you  sentenced  to  six 
months'  imprisonment  in  order  to  afford  you  that 
pleasure." 

"  I  rejoice  to  have  met  Froissart,"  said  Gray,  in 
his  letters;  "he  is  the  Herodotus  of  a  barbarous 
age.  Had  he  been  as  good  a  writer  it  would  have 
secured  him  an  immortality." 

"  The  condition  of  these  books  throughout,"  says 
Mr.  Sabin,  "  is  all  that  the  most  exactinof  and  taste- 
ful  collector  can  desire."    The  slightest  blemish  was 

o 

1  Among  the  more  prominent  buyers  at  this  sale  was  Joseph  J.  Cooke 
of  Providence,  whose  purchases  amounted  to  nearly  one-fourth  of  the 
whole.  Next  in  importance  and  in  amount  were  those  of  Joseph  W. 
Drexe],  most  of  which  were  purchased  for  him  by  H.  B.  Fisher.  The 
purchases  of  J.  Sabin  and  Sons  were  made  for  various  gentlemen  who  could 
not  attend  the  sale,  or  did  not  desire  that  their  names  should  be  made  pub- 

92 


always  a  cause  for  rejection,  and  as  very  nearly  all  of 
them  are  bound  by  the  best  English,  French,  and 
American  binders,  including  the  names  of  Roger 
Payne,  Bedford,  Pratt,  Mackenzie,  Hayday,  Lortic, 
Henderson,  Bauzonet,  David,  Matthews,  Bradstreet, 
and  Smith,  their  state,  internal  and  external,  is  un- 
surpassed by  that  of  any  similar  collection  which 
has  ever  passed  under  our  notice.  The  privately 
illustrated  books,  with  a  few  exceptions,  did  not 
fetch  thirty  per  cent,  of  their  cost. 

The  dispersion  of  a  great  library,  which  has  cost 
so  much  money  and  so  many  years  of  patient  re- 
search and  waiting,  is  always  a  thing  to  be  deplored; 
but  that  it  should  be  sacrificed  for  less  than  half  its 
value  adds  much  to  our  regret.  One  consolation 
offers  in  the  present  case,  however:  nearly  all  the 
valuable  historical  works  have  been  retained  in  the 
great  libraries  of  American  collectors.  The  heaviest 
purchasers  were  J.  W.  Drexel,  E.  G.  Asay,  R.  W. 
Stuart,  H.  C.  Murphy,  Brayton  Ives,  S.  W.  Phoe*- 
nix,  John  R.  Bartlett,  Fisher  Howe,  and  a  few  others. 

The  mutability  of  private  libraries  is  not  calculated 
to  inspire  the  highest  enthusiasm  in  the  book-lover. 
A   retrospection    of  the    history  of  great   private 

lie,  or  preferred  experienced  dealers  to  execute  their  commissions.  Among 
the  gentlemen  of  New-York  were.  Mr.  R.  L.  Stuart,  Mr.  Fisher  Howe,  and 
Mr.  S.  W.  Phoenix.  Many  of  the  rarities  go  out  of  the  city,  mostly  to  Mr. 
E.  G.  Asay  of  Chicago;  some  to  Mr.  Robert  Clarke  of  Cincinnati;  others 
to  the  Library  of  Congress,  also  to  the  State  Department  at  Wasliington. 
Certainly  two-thirds  of  the  library  goes  to  other  localities. — BibliopoUst. 

93 


libraries  is  not  a  cheerful  one.  To  us,  who  have 
memorized  the  career  of  many  from  small  begin- 
nings to  famous  collections,  and  have  attended 
their  sale  and  dispersion — their  fragments  going 
to  swell  the  magnificence  of  some  other  great  col- 
lection, which  in  its  turn  we  have  also  seen  swept 
away  —  from  this  view  there  seems  but  little  con- 
solation in  amassing  books.  It  is  sad  to  trace  the 
vicissitudes  of  some  of  these  princely  volumes,  for 
whichwe  have  an  almost  criminal  affection,  as  they 
pass  from  one  distinguished  bibliophile  to  another. 
They  come  from  Europe  to  America,  and  they  go 
from  America  to  Europe,  and  seem  never  to  attain 
rest  until  they  find  it  in  some  public  institution. 

Mr.  Nathaniel  Paine  of  Worcester,  Massachu- 
setts, has  in  his  library  many  illustrated  volumes 
of  the  greatest  literary  and  historic  significance.  It 
is  his  custom,  where  it  has  been  impracticable  to 
do  more,  to  add  portraits  of  authors  to  their  works. 
Mr.  Paine  has  illustrated  Spooner's  "  Bibliographi- 
cal History  of  the  Fine  Arts,"  originally  in  two  vol- 
umes, extended  to  nine  by  the  insertion  of  about 
eight  hundred  portraits  of  artists.  Over  one  hundred 
of  these  portraits  are  by  noted  French  engravers  of 
the  eighteenth  century.  Besides  the  portraits  are 
many  engravings  illustrating  the  works  of  the  art- 
ists mentioned.  Each  volume  has  a  unique  illumi- 
nated title-page  made  by  the  owner. 

94 


The  most  extensive  work  of  Mr.  Paine  in  extra 
illustrating-  is  the  large-paper  edition  of  Irving's 
"Life  of  Washington."  It  is  still  incomplete; 
when  finished  it  will  consist  of  eleven  volumes, 
four  of  which  have  been  bound,  and  additions  are 
still  being  made  to  the  others.  The  number  of 
illustrations  now  exceed  one  thousand,  exclusive 
of  autograph  letters  and  documents  of  Washington, 
George  II.,  Governor  Shirley,  Lord  Amherst,  Lord 
North,  George  IV.,  Patrick  Henry,  General  Stark, 
and  others.  There  are  fifty  portraits  of  Washing- 
ton, several  of  Franklin,  portraits  of  the  generals 
and  statesmen  of  the  revolutionary  period,  besides 
views  of  battles  and  the  various  headquarters  of 
Washineton.  The  last  volume  will  be  devoted  to 
miscellaneous  matters,  such  as  woodcut  portraits 
of  Washington,  postal  and  revenue  stamps  with 
head  of  Washington,  badges,  and  other  memorials. 

Mr.  Paine  has  illustrated  George  H.  Preble's 
"History  of  the  American  Flag,"  a  unique  and  very 
interesting  work;  also  "Life  and  Letters  of 
George  Ticknor":  the  last  has  about  one  hundred 
portraits  added;  James  T.  Field's  "Bibliograph- 
ical Notes  and  Personal  Sketches";  also  William 
Linton's  "  History  of  Wood  Engraving."  "  Early 
Paper  Currency  of  Massachusetts,"  Mr.  Paine's 
own  work,  has  been  illustrated  with  portraits,  ex- 
amples   of    early   paper-money,    and   autographs: 

95 


this  is  a  unique  and  extremely  interesting  work 
from  an  historical  point  of  view ;  also  two  or  three 
volumes  of  "Worcester  History,"  which  have  been 
extended  by  the  insertion  of  portraits  of  old  resi- 
dents, views  of  old  buildings,  maps  and  plans ; 
another  work  in  three  volumes,  consisting  of  "  No- 
tices" by  Thackeray  and  others  of  George  Cruik- 
shank,  to  which  Mr.  Paine  has  added  over  one 
hundred  sketches  and  prints  by  that  eminent  cari- 
caturist, many  of  which  are  extremely  scarce. 

One  of  the  three  large-paper  copies  of  General 
Charles  Diven's  oration  at  the  Centennial  Anni- 
versary of  the  battle  of  Bunker  Hill.  This  has 
been  extended  to  a  thick  quarto  by  the  insertion  of 
portraits  of  persons  and  scenes  mentioned  in  the 
address.  But  the  most  prized  books  in  Mr.  Paine's 
collection  are  two  volumes  entitled  "Autographs, 
Letters,  and  Portraits  of  the  Signers  of  the  Decla- 
ration of  Independence."  These  volumes  contain 
autograph  letters,  documents,  or  signatures  of  all 
but  nine  of  the  signers,  eighteen  with  autograph 
letters  sicrned.  Portraits  of  all  the  sigrners  obtain- 
able  have  been  inserted.  In  the  first  volume  is  an 
"Historical  Monograph"  of  the  thirteen  original 
States,  and  biographical  notices  of  the  signers,  with 
a  finely  printed  copy  of  the  Declaration  itself 
The  volumes  are  bound  in  full  Turkey  morocco, 
with  specially  illuminated  title-pages. 

96 


A  late  addition  to  the  extended  volumes  is  Les- 
ter Wallack's  "Memories  of  Fifty  Years,"  to  which 
have  been  added  several  portraits  of  actors,  and 
autograph  letters  of  Wallack,  Tyrone  Power,  and 
Charles  Kean. 

Other  illustrated  magazine  scrap-books  are 
Ropes's  "  Portraits  of  Napoleon,"  "  Literary  Life  in 
the  United  States,"  and  several  magazine  articles 
on  "Washington,"  "  Mount  Vernon,"  and  kindred 
subjects.  There  are  also  dramatic  articles  from 
various  magazines,  to  which  have  been  added  por- 
traits of  actors  and  actresses. 

A  series  of  these  scrap-books  in  five  volumes 
contain  articles  on  "Lexington,"  "Concord,"  "Bun- 
ker Hill,"  and  "  Bennington."  They  are  all  neatly 
bound  and  have  pen-and-ink  title-pages. 

Besides  his  privately  illustrated  books,  Mr.  Paine 
has  a  large  library  of  miscellaneous  works.  He  is 
fond  of  antiquarian  research,  is  a  scholar  and  an 
author. 

Among  privately  illustrated  books  on  Ameri- 
can history,  biography,  and  literature  those  of 
Thomas  Collier  of  New  London,  Connecticut, 
although  not  numerous,  must  hold  high  rank  for 
the  quality  of  the  work  and  materials  employed. 
Mr.  Collier  has  endeavored  to  reach  as  near  per- 
fection in  his  books  as  possible.  He  has  privately 
illustrated  "A  Discourse  in  Commemoration  of  the 

97 


Lives  and  Services  of  John  Adams  and  Thomas  Jef- 
ferson," delivered  in  Faneuil  Hall,  Boston,  August 
2,  1826,  by  Daniel  Webster;  to  which  are  added 
eighty-one  illustrations,  consisting  of  portraits, 
many  prints  from  old  contemporary  copper-plates, 
also  facsimiles  of  the  Declaration  of  Independence 
before  it  was  engrossed,  and  the  signatures  of 
the  signers  appended,  bound  in  full  levant  by 
Matthews;  also,  "Philosophers  and  Actresses,"  by 
Arsene  Houssaye,  New- York  edition,  1853,  in  two 
volumes,  i2mo,  seventy-four  prints  added.  This  is 
an  elegant  little  book,  and  the  finishing  touches  of 
Mr.  Collier  have  rendered  it  simply  superb.  The 
talent  of  Houssaye  has  been  described  by  Victor 
Chasles  as  "A  smile  tempered  by  a  tear  and  a 
turn  of  wit  softened  by  a  stroke  of  sentiment." 
Oration  on  the  "  Life  and  Character  of  Gilbert 
Motier  De  Lafayette,"  delivered  on  the  request  of 
both  houses  of  the  Congress  of  the  United  States, 
by  John  Ouincy  Adams,  fifty  prints  added.  "Mary 
Oueen  of  Scots  and  Her  Latest  Enorlish  Histo- 
rian :  A  Narrative  of  the  Principal  Events  in  the 
Life  of  Mary  Stuart,"  with  some  remarks  on 
Mr.  Froude's  "  History  of  England,"  one  volume, 
fifty  prints  added,  bound  in  half  levant  by  Stike- 
man.  "General  John  Burgoyne's  [soldier  and 
dramatist]  Campaign  and  St.  Leger's  Expedition," 
by  H.  L.  Stone,  extended  to  two  volumes  by  the 

98 


insertion  of  one  hundred  and  seventy-five  prints. 
James  Fenimore  Cooper's  ''Naval  History  of  the 
United  States,"  extended  to  four  volumes  by  the 
insertion  of  three  hundred  and  fifty  autographs. 
Charles  Knight's  "  Life  of  Shakspere,"  eight 
volumes  extended  to  twenty,  seven  hundred  and 
fifty  prints  added,  many  of  which  are  proofs.  Ir- 
ving's  "Washington,"  limited  edition,  extended  to 
ten  volumes,  about  five  hundred  and  twenty-five 
prints  inserted,  many  proof.  "The  Women  of  the 
Eighteenth  Century,"  Arsene  Houssaye,  with  four 
hundred  and  eighteen  prints,  extended  to  four  vol- 
umes. Edmund  C.  Stedman's  "American  Poets," 
one  hundred  and  sixty-five  proof  and  rare  prints ; 
also  "  Victorian  Poets,"  same  author,  one  hundred 
and  forty  prints.  "Fables  of  Jean  La  Fontaine," 
with  designs  in  the  text  by  Grandville;  also  a  "Life 
of  La  Fontaine,"  with  character  and  critical  notices, 
two  volumes,  illustrated  and  extended  by  the  in- 
sertion of  fifty-one  portraits,  twelve  vignettes,  and 
a  set  of  one  hundred  and  thirty-four  prints. 


99 


w^w^^^^wsw^^^v^^^^^^ 

^^^^^^^^^^^^^^^9 

^^^^^^^^^ 

■■'"'"^lirii^WMMMti^^ 

CHAPTER   III. 

E.  G.  AsAY.  Thomas  Westwood.  George 
W.  Bethune.  Dean  Sage.  John  G.  Hecksler. 
Gage  Nichols.  B.  C.  Waters.  William  Seward 
Webb.  R.  L.  Livingston.  Wakeman  Holberton. 
D.  McN.  Stauffer.  Francis  A.  Niccolls.  Ir- 
ving Browne.  John  H.  V.  Arnold.  Augustin 
Daly.  William  W.  Astor.  A.  M.  Palmer, 
Curtis  Guild.  W.  B.  Maclay.  William  S. 
Hills.  William  A.  Courtenay.  J.  O.  Wright. 
George  H.  Purser.     R.  B.  Adam.     V.  S.  Lillie. 


BO  chronological  successiveness  or  classi- 
'  fication  of  events  or  materials  has  been 
I  anticipated  in  the  preparation  of  this 
monograph,  nor  has  the  lack  of  method  been  a 
studied  one.  The  book  has  been  put  together 
with  a  negligee  and  abandon  which  to  us  has  been 

100 


a  charming  release  from  the  unyielding  seriatim 
routine  and  discipline  which  pervade  our  business 
lives.  We  feel  relief  in  breathing  an  atmosphere 
free  from  digest,  analysis,  classification,  and  coor- 
dination. True,  "Order  is  Heaven's  first  law," 
but  even  order  was  born  of  chaos.  If  the  reader 
rejoice  with  us  in  this  proffered  exemption  from  re- 
straint and  nonconformity  to  the  laws  of  order,  he 
may  journey  with  us  through  the  following  pages 
at  his  own  unfettered  will. 

The  next  collection  to  which  we  shall  call  the 
attention  of  the  reader,  and  from  which  a  few  ex- 
tracts will  be  made,  is  the  wonderful  library  of  Mr. 
E.  G.  Asay  of  Chicago.  The  special  direction  in 
which  Mr.  Asay's  taste  had  been  cultivated  was 
in  the  collection  "Americana,"  or  books  illustrative 
of  our  national  history,  and  of  English  literature  of 
the  Elizabethan  age.  In  each  of  these  departments 
are  some  of  the  rarest  and  most  valuable  books  — 
both  intrinsically  and  from  associations  —  that  have 
ever  been  printed,  most  of  which  are  represented 
in  large-paper  and  limited  editions. 

But  our  province  here  is  with  privately  illustrated 
books  only,  and  the  first  title  falling  under  our  ob- 
servation in  that  class  is  that  of  the  more  than 
unique  edition  of  Longfellow's  wandering  Floren- 
tine exile,  "Dante  AUighieri" — "The  Divina  Com- 
media  "  is  one  of  the  landmarks  of  history,  it  is  a 

lOI 


solemn  monument  of  the  powers  of  the  mind  of  a 
man  with  deeper-rooted  prejudices,  stronger  loves, 
and  bitterer  hates,  with  greater  capacities  for  ideal 
thought,  than  any  who  has  ever  lived.  But  it  is 
not  our  purpose  to  linger  with  the  moods  of  this 
sad  and  brooding  genius.  There  were  three  copies 
only  of  this  edition  printed,  and  it  may  be  a  conso- 
lation to  the  desperately  smitten  bibliophile  in  this 
line  to  know  that  this  is  the  only  one  remaining. 
Originally  published  in  three  volumes,  now  ex- 
tended to  six,  bound  in  London  in  maroon  levant, 
and  it  contains  all  the  known  engraved  portraits  of 
Dante.  Its  entire  cost  was  only  $2100.^  Notable 
also  in  this  collection  was  Walton's  "  Angler,"  large 
paper;  "Pickering,"  extended  to  six  volumes  by 
the  insertion  of  prints,  portraits,  and  water-colors, 
valued  at  $  1 500,  and  five  other  editions  of  the  same 
work;  Joseph  N.  Ireland's  "  New- York  Stage,"  ex- 
tended to  five  volumes ;  also  Dr.  Doran's  "  Annals," 
extended  to  six  ;  P.  Fitzgerald's  "  Life  of  Garrick," 
extended  to  four  volumes,  bound  by  Matthews ;  a 
Kilmarnock  edition  of  "  Burns,"  by  all  odds  the 
finest  we  have  ever  seen ;  Campbell's  "  Life  of 
Mrs.  Siddons";  Dibdin's  "Bibliographical  Decam- 
eron"; Boccaccio's  "Decameron";  Dibdin's  "Con- 
tinental and  Northern  Tour" ;   Fielding,  Smollett, 

1  This  remarkable  book  is  now  the  property  of  Mr.  Theodore  Irwin  of 
Oswego,  New-York. 

102 


Sterne,  "Waverley  Novels,"  Abbotsford  edition,  ex- 
tended with  a  wealth  of  illustration.  Mr.  Asay 
lavished  expense  upon  his  bindings.  He  had  a 
decided  weakness  for  the  French,  and  paid  prices 
varying  from  $15  to  $75  per  volume. 

It  is  not  within  the  province  of  this  essay  to  en- 
tertain that  most  delightful  collection  of  Thomas 
Westwood,^  the  Waltonian  paragon,  with  his  fifty- 
six  editions  of  the  gentle  "Angler,"  including  the 
first  five  editions,  now  nearly,  if  not  quite,  unique, 
with  an  appropriate  number  of  the  twin  work  of 
Cotton  —  in  all  five  hundred  and  one  volumes  on 
piscatorial  science  alone,  and  all  the  progeny  of 
one  little  volume  in  i2mo,  printed  by  Maxey  for 
Richard  Harriot  in  1653.  This  is  the  largest 
collection  known. 

Nor  can  we  stop  to  enter  into  a  detail  of  that 
most  complete  collection  of  Dr.  George  W.  Bethune 
on  piscatorial  science.  It  contained  not  only  the 
various  editions  of  Walton,  but  all  the  books  re- 
ferred to  by  Walton;  also  books  on  ichthyology 
and  angling  in  Greek,  Latin,  Italian,  German,  and 

1  See  "  Bibliotheca  Piscatoria,"  catalogue  of  the  library  of  Thomas  West- 
wood,  Esq.,  author  of  the  "Chronicles  of  the  Complete  Angler,"  etc.,  etc. 
By  J.  W.  Bouton,  New-York,  1873.  A  "New  Bibliotheca  Piscatoria;  or, 
General  Catalogue  of  Angling  and  Fishing  Literature."  With  bibliographi- 
cal notes  and  data.  By  Thomas  Westwood,  London,  1861.  The  "Chron- 
icles of  the  Complete  Angler  of  Izaak  Walton  and  Charles  Cotton  :  Being  a 
Bibliographical  Record  of  its  Various  Phases  and  Mutations."  By  Thomas 
Westwood.     Quarto,  pp.  64.     London,  1864. 

10^ 


French,  yet  it  in  no  wise  involved  the  specialties 
treated  in  this  volume. 

There  are  two  classes  of  books  which  seem  to 
have  an  irresistible  attractiveness  for  illustrators. 
They  are  books  on  sporting,  and  books  on  the 
drama.  There  are  illustrators  who  have  expended 
thousands  of  dollars  on  Walton's  "Angler"  who 
have  never  cast  a  line  or  drawn  a  fly  in  their  lives, 
and,  indeed,  it  even  appears  to  have  a  charm  for 
those  to  whom  fishing  is  an  abomination, —  an  aver- 
sion which  they  have  vainly  endeavored  to  conceal 
in  their  illustrating  of  the  book.  It  is  probable 
that  a  love  of  nature  and  natural  scenery,  which 
is  made  so  charmingly  conspicuous  in  this  work, 
has  contributed  more  to  its  popularity  for  illustrat- 
ing than  a  love  for  the  sport.  Perhaps  it  was  this 
love  of  nature  which  induced  that  arch  cockney  Dr. 
Johnson,  in  spite  of  his  heretical  definition  of  an- 
gling, to  patronize  the  republication  of  this  angler's 
gospel. 

The  drama  comes  entirely  within  the  literary 
realm.  It  is  a  histrionic  art  a  knowledge  of  which 
contributes  largely  to  our  historical  and  literary 
learning.  It  is  a  substantial  attainment,  and  stays 
by  us  as  a  belles-lettres  adornment. 

"  Among  collections  of  books  in  this  country  on 
field  sports  and  sporting  generally,  the  largest  and 
most  complete,"  says  "The  Collector,"  "belongs  to 

104 


Dean  Sage  of  Albany,  and  not  the  least  valu- 
able in  his  collection  is  a  work,  of  which  he  is  the 
author,  on  the  'Salmon  Fishing  of  Restigouche.'  " 
According  to  the  above  authority  Mr.  Sage's  library 
of  books  on  sporting  consists  of  about  five  thou- 
sand volumes.  He  has  some  privately  illustrated 
books  also  :  as  Adolphe  Taine's  "  History  of  Eng- 
lish Literature,"  London,  four  volumes,  illustrated 
by  the  insertion  of  seventy-four  prints,  mostly  en- 
graved portraits.  "A  Century  of  Painters,"  by 
Richard  Redgrave,  two  volumes,  London,  seventy- 
three  prints  inserted,  consisting  of  portraits  and 
views.  ''Court  and  Society  from  Elizabeth  to  Anne," 
edited  from  papers  at  Kimbolton,  London,  1864, 
eighty-seven  prints  added,  mostly  portraits,  some 
colored.  "  The  French  Stage  and  the  French 
People,"  as  illustrated  from  the  "  Memoirs  of  M. 
de  Fleury,"  edited  by  Theodore  Hook,  two  vol- 
umes, 1841,  with  seventy-nine  prints  inserted,  en- 
gravings and  colored  woodcuts.  "The  Literary 
History  of  England  at  the  End  of  the  Eighteenth 
and  Beginning  of  the  Nineteenth  Century,"  three 
volumes,  forty-one  prints  added.  "History  of  the 
Norman  Kings  of  England,"  London,  1869,  with 
twenty-six  inserted  prints.  "  History  of  French 
Literature,"  Henri  Van  Laun,  London,  three 
volumes,  seventy-three  prints  inserted.  "  Old 
Court  Life  in  France,"  London,  1873,  two  vol- 
*  105 


umes,  eighty-five  prints  inserted,  mostly  engraved 
portraits. 

And  now  "  Annals  of  the  French  Stage,"  two 
volumes,  London,  1884,  seventy-three  prints  in- 
serted. "  Memoirs  of  the  Duke  of  Saint  Simon," 
London,  1876,  three  volumes,  fifty-four  prints 
added.  "A  New  History  of  the  English  Stage," 
London,  1882,  two  volumes,  fifty-six  portraits  in- 
serted. All  of  the  foregoing  volumes  were  pur- 
chased from  Mr.  J.  O.  Wright  in  their  present 
state.  The  inlaying  and  binding  were  attended  to 
by  him. 

Here  we  also  find  Sir  Thomas  More's  "  Utopia," 
edited  by  Rev.  T.  F.  Dibdin,  London,  1808,  two 
volumes,  ninety-one  inserted  prints,  bound  by  Al- 
fred Matthews.  Walton  and  Cotton's  "Angler," 
large  paper,  Bagster  edition,  1808,  extended  to 
three  volumes  by  the  insertion  of  two  full-page 
water-color  drawings  by  Sabin,  also  with  three 
hundred  and  fifteen  engravings,  woodcuts,  and 
etchings  inserted.  The  illustrations  consist  of  por- 
traits, landscapes,  and  fishing  scenes,  many  rare 
prints.  These  volumes  were  made  up  by  the  late 
W.  W.  Sabin. 

Also  an  American  edition  of  "The  Treatyse  of 
Fysshynge  with  an  Angle,  from  the  Boke  of  St. 
Albans,"  by  Dame  Juliana  Berners,  1496;  edited 
by  George  W.  Van  Siclen,  1875;   illustrated  with 

106 


pen-and-ink  sketches  by  Major  Cronin,  of  which 
there  are  fifty-three,  some  full -page  :  a  beautiful  and 
marvelous  book,  bound  by  R.  W.  Smith  in  crushed 
levant, 

John  G.  Hecksler,  of  New-York,  also  has  a 
large  and  valuable  collection  of  books  relating  to 
shooting  and  fishing.  His  copy  of  Scope's  "Days 
and  Nights  of  Salmon  Fishing"  has  been  privately 
illustrated  and  enlarged  to  a  superb  and  unique 
book.      He  has  extended  other  works. 

Gage  Nichols  is  also  an  enthusiastic  collector  of 
sporting  literature,  and  has  been  years  engaged  in 
enlarging  and  illustrating  Frank  Forester's  "  Field 
Sports,"  Probably  the  finest  and  most  complete 
private  collection  of  books,  however,  devoted 
to  trout  and  salmon  fishing  in  America  is  that 
formed  by  B.  C.  Waters,  who  is  one  of  the  staff 
of  a  prominent  up-town  bank  of  the  city  of  New- 
York,  Dr,  William  Seward  Webb  has  a  large  col- 
lection of  works  on  sporting.  He  is  also  an  author, 
Hon.  R,  L.  Livingston,  of  Plainfield,  New  jersey, 
owns  a  very  extensive  collection  of  sporting  books  ; 
many  of  them  are  exceedingly  rare.  Wakeman 
Holberton,  who  combines  the  quality  of  sportsman 
with  artist,  has  four  books  which  must  forever  re- 
main sans  parcil.  The  first  is  a  copy  of  his  "Art 
of  Anoflinor,"  illustrated  with  numerous  water-color 
drawings    of    flies    and    fishes,    and    pen-and-ink 

107 


sketches  of  fishing  resorts.  The  second  is  a  copy 
of  the  "  E-Soc-Ouet";  it  is  a  manuscript  engrossed 
with  pen  and  illustrated  with  photographs,  water- 
color  drawings,  and  pen-and-ink  sketches.  Nearly 
all  of  the  capital  letters  are  illuminated  after  the 
manner  of  the  manuscripts  of  the  monks  of  old.  The 
third  contains  pen-and-ink  sketches  of  noted  "An- 
gling Resorts  in  the  United  States  and  Canada." 
The  fourth  is  the  celebrated  "Recollections  of 
an  Angler,"  perfectly  unique.  It  is  an  edition  of  a 
single  copy,  which  will  never  be  duplicated,  and 
consists  of  one  hundred  and  one  quarto  pages  imi- 
tation parchment,  every  word  and  illustration  the 
work  of  the  author's  pen  and  brush.  The  letter- 
press is  carefully  and  distinctly  printed,  and  it 
contains  three  hundred  illustrations  done  with  the 
pen  or  in  water-colors.  The  title-page  is  illumi- 
nated, and  an  illuminated  capital  letter  marks 
the  beginning  of  each  of  the  other  pages.  The 
subject  of  the  book  is  the  author's  experiences 
during  the  last  twenty  years  with  rod  and  gun,  on 
lake  and  in  field  and  camp.  The  illustrations  are 
faithful  pictures  of  scenes  covering  a  wide  extent 
of  territory,  with  trout  brooks,  quiet  lakes,  club- 
houses, and  camps,  and  give  a  very  realistic  idea 
of  the  varied  scenes  with  which  the  ardent  sports- 
man, who  cares  not  for  hard  work  and  temporary 
discomfort,   becomes   acquainted.      Mr.  Holberton 

1 08 


has  devoted  a  long-  time  to  the  work,  and  intends  it 
for  his  children,  who  should  certainly  appreciate  it. 
The  work  which  next  comes  to  hand  is  of  a  char- 
acter entirely  dissimilar  to  those  last  mentioned. 
It  is  from  the  collection  of  D.  McN.  Stauffer, 
of  "  The  Engineering-  News,"  New-York,  and  is 
the  viagmim  opus  of  his  many  privately  illustrated 
books.  It  is  entitled  "  A  History  of  Philadelphia," 
by  Westcott.  The  size  of  the  work  is  ten  by  thir- 
teen inches,  and  contains  twenty-five  hundred  and 
eighty  pages  of  text ;  eight  thousand  illustrations 
have  been  inlaid  and  inserted  in  the  work.  These 
include  over  three  thousand  autograph  letters  or 
documents  of  persons  connected  with  the  early 
history  of  Philadelphia  (1680-1830).  Many  of 
these  autographs  are  valuable,  and  embrace  nearly 
every  Pennsylvania  signer  of  the  Declaration,  mem- 
bers of  the  Continental  Congress,  military  officers, 
nearly  all  of  the  prominent  physicians,  lawyers, 
clergymen,  and  men  of  note  of  the  period  mentioned 
in  the  work.  Among  the  illustrations  are  many 
broadsides  and  printed  documents,  newspapers, 
colonial  money,  old  lottery  tickets,  and  various  odd 
bits  of  that  kind.  There  are  maps  of  the  city  and 
province,including  Holmes's  map  of  1 681, and  Dutch 
maps  of  1 700.  The  printed  documents  include  two 
broadsides  of  1775  (Lancaster,  Pa.,  imprint),  an- 
nouncing  the    battles  of   Lexington  and    Bunker 

109 


Hill.  There  is  also  an  old  play-bill  of  the  Amer- 
ican Company  at  the  South  street  theater  of  1767, 
and  a  proclamation  of  Governor  Penn,  offering  a 
reward  for  the  scalps  of  Indians,  male  and  female 
(B.  Franklin  imprint).  There  are  a  number  of  these 
documents  printed  by  Franklin,  including  a  copy 
of  his  first  newspaper. 

The  illustrations  also  include  a  complete  set  of 
"  Birch's  Views  of  Philadelphia,"  old  views  from  the 
"American  Columbian"  and  other  early  magazines, 
and  every  variety  of  odd  news  obtainable  connected 
with  Philadelphia  history.  The  portraits  include 
impressions  from  over  four  hundred  private  plates. 
The  special  feature  of  this  book  is  that  it  contains 
nearly  one  thousand  pen-and-ink  and  water-color 
sketches  made  by  Mr.  Stauffer  from  original  draw- 
ings of  old  Philadelphia  houses,  family  portraits, 
and  various  items  of  connected  interest  not  before 
engraved. 

Mr.  Stauffer  has  been  collecting  matter  for  this 
book  since  1875,  having  inherited  about  two  tons 
of  the  papers  of  a  judge  of  the  Supreme  Court, 
from  which  most  of  his  autographs  have  been  culled 
for  this  work,  though  many  other  accumulations 
of  papers  on  Pennsylvania  have  been  purchased 
or  ransacked  for  this  purpose.  No  money  has  been 
spared  in  the  purchase  of  material  for  the  illustra- 
tion of  this  peerless  book.      Provision    has    been 

no 


made  to  bestow  it  upon  the  Pennsylvania  Histori- 
cal Society  after  Mr.  Stauffer  has  done  with  it.  It 
consists  of  fifty  folio  volumes.  Mr.  Stauffer  did  all 
his  own  inlaying.  There  is  pleasure  in  the  con- 
templation of  such  a  labor.  The  work  was  never 
printed  in  book  form,  but  was  published  in  the 
"  Philadelphia  Sunday  Dispatch"  for  about  seven- 
teen years.  Mr.  Stauffer  secured  a  special  set 
printed  on  one  side  only,  and  these  are  mounted  in 
double  columns  over  a  sheet  with  border-lines  and 
heading.      It  is  a  monumental  work. 

We  doubt  if  Mr.  Stauffer  ever  had  the  courage 
to  go  into  an  estimate  of  the  cost  of  this  stupen- 
dous work.  We  hope  he  will  be  neither  frightened 
nor  insulted  at  the  price  which  we  have  placed 
upon  these  volumes,  and  which  we  think  is  rather 
under  than  over  their  value,  estimating  all  the 
labor  upon  them  except  that  of  hunting  up  the  ma- 
terial,— an  item  which  it  would  be  impossible  to  es- 
timate,— say  costs  of  printed  material  and  inlaying 
or  mounting,  value  of  autographs  and  prints  with 
inlaying.  One  thousand  pen-and-ink  sketches,  of 
course,  can  only  be  guessed  at.  We  put  the  value 
of  the  set  at  $80,000. 

The  next  is  "Washington's  Military  Family," 
another  interestihg  and  very  important  historical 
work.  The  text  of  this  book  is  taken  from  the 
"  Magazine  of  American  History."  Its  size  is  seven- 

1 1 1 


teen  by  twelve  inches,  and  is  illustrated  by  private 
portraits  and  autograph  letters,  fifteen  of  which 
are  a.  1.  s.  by  Washington ;  also  letters  of  thirty- 
one  out  of  the  thirty-two  members  of  his  staff,  P. 
P.  Thornton  (mentioned  only  by  Sparks)  being 
alone  missing.  Lieutenants  Colfax,  Gibbs,  and 
Livingston  of  his  life-guard  are  also  represented 
by  a.  1.  s.  "Alexander  Graydon's  Memoirs."  im- 
perial 8vo,  is  illustrated  by  three  hundred  and  fifty- 
two  portraits  and  views  and  seventy-six  autograph 
letters.  Simpson's  "Eminent  Philadelphians,"  four 
volumes,  with  two  hundred  and  ninety-six  por- 
traits, twenty-seven  views,  the  bulk  of  the  portraits 
from  private  plates.  "The  Tower  of  London,"  with 
four  hundred  views  and  portraits,  is  a  companion  to 
"Westminster  Abbey  "  of  the  same  collection. 

John  W.  Francis's  "  Old  New- York,"  large  paper, 
extended  to  five  volumes  by  the  insertion  of  six 
hundred  and  fifty-two  portraits  and  one  hundred 
views.  Many  of  the  portraits  are  of  the  extremest 
rarity.  "History  of  the  Reformation,"  Jean  Henri 
D'Aubigne,  six  volumes,  large  paper,  illustrated  by 
nine  hundred  and  twelve  portraits  and  views.  The 
effort  in  this  work  has  been  to  illustrate  with  con- 
temporary views  and  portraits.  There  are  forty- 
six  portraits  of  Luther,  beginning"  about  1 545  ;  also 
a  portrait  of  Philip  Melanchthon,  engraved  by  his 
personal  friend,  Lucas  von  Cranach.      "  Amenities 

112 


of  Literature,"  Isaac  D'Israeli,  is  in  six  volumes, 
five  hundred  and  ninety-one  portraits  and  views. 

"Tobacco  and  Its  Associations,"  Fairholt,  two 
volumes,  three  hundred  and  eighty-three  inserted 
portraits  and  views.  This  collection  contains  many 
other  extra-illustrated  books,  among  which  may  be 
mentioned  "Life  of  Nelson,"  four  volumes;  Philip 
Freneau's  "  Poems  of  the  Revolution,"  two  vol- 
umes ;  W.  S.  Baker's  "American  Engravers,"  two 
volumes;  "Memoirs  of  Benjamin  Rush";  "The 
Shippen  Family,"  four  volumes;  "Life  of  Col. 
Wm.  Bradford,"  two  volumes  ;  "  Memoirs  of  Fran- 
cis Hopkinson,"  fifteen  copies  only  printed,  illus- 
trated entirely  by  water-color  portraits  and  views 
made  by  Mr.  Stauffer.  It  is  still  unfinished.  This 
ends  our  record  of  one  of  the  most  remarkable  col- 
lections of  local  history  in  the  country.  The  "  His- 
tory of  Philadelphia  "  is  probablywithout  a  parallel 
among  illustrated  local  histories. 

Francis  A.  Niccolls,  of  Boston,  has  illustrated  the 
Birkbeck  Hill  edition  of  Boswell's  "Johnson"  by 
the  insertion  of  nine  hundred  prints  of  an  unex- 
ceptionably  fine  quality,  extending  the  work  from 
six  to  eleven  volumes ;  it  is  bound  in  green  levant 
by  Macdonald  and  Allen.  He  has  also  extended 
Irving's  "Washington"  from  five  to  ten  volumes 
by  the  insertion  of  six  hundred  prints.  "  The  Life 
of  Nell  Gwynn  "  has  been  extended  to  two  volumes 

113 


by  the  addition  of  one  hundred  prints,  bound  in  full 
maroon  levant  by  Macdonald. 

William  Hazlitt's  "Napoleon,"  1852  edition, 
extended  to  four  volumes  by  the  insertion  of  three 
hundred  prints.  Mr.  Niccolls  has  in  addition  a 
number  of  smaller  works,  as  Lamartine's  "  Mary 
Oueen  of  Scots,"  Durand's  "  Marie  Louise,"  Mar- 
ten's  "  Footprints  of  Charles  Lamb,"  and  a  number 
of  works  on  the  Napoleonic  period.  His  inlaying 
was  done  by  Poole  of  Boston.  The  interest  gen- 
erally attaching  to  this  collection  is  in  the  Na- 
poleon and  the  works  extending  over  that  period. 
Many  of  the  books  of  this  collection  are  extremely 
interesting,  and  we  regret  that  our  account  of  them 
is  unworthy  their  importance. 

Irving  Browne,  a  lawyer  of  the  city  of  Troy,  now 
of  the  Albany  "  Law  Journal,"  has  made  an  at- 
tractive and  eccenftric  collection  of  illustrated  books. 
He  has  illustrated  one  hundred  and  thirty-four  vol- 
umes, using  ten  thousand  prints,  drawings,  and 
sketches.  Among  his  books  was  "  The  Croakers," 
by  Joseph  Rodman  Drake  and  Fitz- Greene  Halleck, 
being  number  two  of  the  Bradford  Club  publica- 
tions. He  extended  this  octavo  volume  to  four  by 
the  addition  of  three  hundred  and  thirty-two  por- 
traits and  views  of  exemplary  beauty.  The  inlay- 
ing was  done  by  Trent.  He  also  illustrated  another 
copy  of  the  same  work  with  superior  prints ;  also  a 

114 


large-paper  copy  of  James  Wynne's  ''  Private  Li- 
braries of  New-York,"  only  one  hundred  printed, 
extending  the  one  volume  to  three  by  the  insertion 
of  three  hundred  and  seventeen  prints,  mostly  In- 
dia proof.  This  is  a  fine  book  for  the  display  of 
rare  portraits.  He  extended  Walton's  "  Complete 
Angler "  from  one  to  three  volumes  by  inserting 
four  hundred  illustrations. 

There  were  ten  editions  of  Walton  in  this  col- 
lection.     Nor  did  Dibdin  escape  him  ! 

In  looking  over  Mr.  Browne's  remarkable  col- 
lection of  illustrated  books,  we  were  surprised  at 
the  wide  range  he  had  taken  and  his  apparent 
want  of  method.  It  would  seem  that  the  moment 
he  came  into  possession  of  a  book,  it  was  put  under 
the  rack  to  extort  its  capacity  for  illustrations.  He 
illustrated  everything — he  was  omnivorous,  and, 
notwithstanding  his  versatility  and  industry  re- 
sulted in  the  production  of  some  noble  books,  they 
were  without  specialty  or  system.  In  his  vagaries 
he  illustrated,  with  equal  enthusiasm,  John  Milton, 
Boccaccio,  Edward  Everett,  John  Bunyan,  the 
wicked  tinker  of  Elstow,  a  collection  of  "  Love 
Poems,"  Debree's  "Book  of  Death,"  "Odes  to 
Anacreon,"  "  Shades  of  an  Old  Bookseller,"  "  Po- 
etry," "  Fine  Arts,"  "Travels,"  "  Natural  History," 
and,  last  of  all,  in  the  moment  of  despair  that  he 
had  no  more  worlds  to  conquer,  he  conceived  the 

115 


idea  of  illustrating  a  catalogue  of  his  own  books, 
and  this,  we  think,  was  the  most  curious  of  all  his 
illustrated  books. 

Mr.  Browne's  collection,  although  it  contained 
some  exceedingly  beautiful  books,  was  singularly 
deficient  in  biographical  works,  which  are,  from 
our  point  of  view,  by.  far  the  most  interesting  and 
valuable  of  all  illustrated  books.  A  noble  life, 
with  all  its  intrinsic  and  extrinsic  beauties  put 
fairly  on  record,  is  of  itself  a  model  for  emulation. 
Some  are  inoculative,  and  possess  the  power  of 
transfusing  character  into  the  reader,  and  when 
interpreted  by  beautiful  and  appropriate  portraits 
and  prints,  take  a  new  grace  which  cannot  fail 
in  its  inspiration.  Carlyle  says:  "Man's  social 
nature  evinces  itself  in  the  unspeakable  delight 
he  takes  in  biography."  Emerson  says  :  "  Man 
can  paint  or  make  or  think  nothing  but  man. 
What  is  history  but  the  work  of  ideas,  the  record 
of  the  incomparable  energy  and  aspirations  of 
man?  All  novels  are  a  fictitious  biography;^  the 
drama  is  but  artificial  biography."  Everything 
that  a  man  can  say  "  I  saw,"  is  history,  everything 
that  he  can  say  "I  did,"  is  material  for  his  biog- 
raphy.      Plutarch's   "  Lives,"    written    nearly  two 

1  The  true  science  of  biography  is  professed  by  the  great  novelists  of  the 
day.  We  see  its  growth  in  reading  the  works  of  Goethe  and  Scott  and  Thack- 
eray and  Dickens  and  Victor  Hugo  and  their  thousand  pupils  in  the  divinist 
of  all  arts,  the  picturing  of  human  life. — Lesley. 

ii6 


thousand  years  ago,  like  Homer's  "  Iliad,"  is  one 
of  the  greatest  books  in  the  world,  only  it  should 
be  supplemented  with  the  lives  of  Faraday,  Glad- 
stone, Peabody,  Lincoln,  Theodore  Parker,  Charles 
Sumner,  James  Lick,  and  Lucretia  Mott,  and  illus- 
trated, that,  thus  embalmed  in  thought  and  form, 
their  apotheosis  may  there  abide  forever ;  for  — 

"  He  is  not  dead  whose  glorious  mind 
Lifts  thine  on  high. 
To  Hve  in  hearts  we  leave  behind 
Is  not  to  die." 

We  now  take  up  one  of  the  noted  collections  of 
New- York.  It  contrasts  strongly  with  the  last  in 
two  particulars;  first,  the  prevailing  element  is 
biography,  and  secondly,  there  was  a  purpose  and 
design  in  its  formation.  It  is  the  collection  of  John 
H.  V.  Arnold.  Mr.  Arnold's  devotion  has  extended 
to  the  whole  field  of  literature  ;  it  would  be  difficult 
to  determine  what  particular  department  held  with 
him  the  supremacy.  But  in  his  extra-illustrated 
books  his  partiality  is  clearly  biography  of  the  drama 
and  Americana ;  all  his  favorites  in  these  depart- 
ments he  has  lavishly  adorned  with  illustrations. 

A  description  of  his  illustrated  books  begins  with 
"  The  Life  of  Thomas  Stothard  the  Artist,"  by  Mrs. 
Anne  E.  Bray;  this  is  a  book  of  great  elegance  — 
originally  in  one    octavo  volume,   now  made  into 

117 


three  volumes  folio  by  the  insertion  of  six  hundred 
prints,  the  choicest  subjects  of  the  artist  and  of 
unexceptional  purity,  bound  by  Bedford,  London, 
There  is  another  copy  of  the  same  work  with  com- 
plete sets  of  Stothard's  illustrations  to  "Robinson 
Crusoe,"  proofs ;  to  Boccaccio's  "  Decameron," 
proofs;  to  "Pilgrim's  Progress";  "Shakespeare," 
proofs;  Walton's  "Angler,"  proofs;  "Arabian 
Nights,"  "  Don  Quixote,"  and  Fielding's  novels. 
And  still  another  copy,  with  one  hundred  prints  in- 
serted, being  selections  from  Stothard's  works.  "  A 
Memoir  of  Charles  Mathews,"  by  Mrs.  Mathews, 
extended  to  seven  volumes,  with  three  hundred  rare 
and  curious  portraits  of  actors  and  actresses,  origi- 
nal drawings,  autograph  letters  of  Mr.  Mathews, 
Liston,  Kemble.  O'Keefe,  Wroughton,  Bunn.  and 
many  others.  These  volumes  are  bound  by  Riviere 
in  green  crushed  levant.  There  is  another  copy  of 
the' same  work  in  four  volumes,  octavo,  one  hundred 
and  fifty  prints  inserted,  with  rare  portraits  of  Mrs. 
Siddons,  Madame  Vestris,  and  Peg  Woffington ; 
this  is  bound  in  crimson  crushed  levant  by  Bed- 
ford ;  and  another  copy  extended  to  four  volumes; 
also  "  Mathewiana,"  illustrated  by  an  extraordi- 
nary collection  of  portraits,  in  character,  of  which 
thirty-five  are  portraits  of  Mathews,  two  original 
drawings,  and  twelve  in  pencil,  bound  by  Zaehns- 
dorf;     also    "Catalogue    Raisonne"    of    Charles 

ii8 


Mathews's  gallery  of  Theatrical  Portraits,  with  au- 
tograph letter  of  Mr.  Mathews  and  one  hundred 
and  thirty-three  portraits  added,  including  por- 
traits of  Lamb,  Macklin,  Vestris,  Liston,  Oxbury, 
Farquhar,  and  Colman,  all  proofs,  also  of  Miss 
Kelly,  Miss  Duncan,  and  Miss  Pope.  This  is  a 
quarto  volume  bound  by  Hayday,  London.  There 
are  thirty-two  privately  illustrated  volumes  in  this 
library  relating  to  Charles  Mathews. 

A  sketch  of  the  "  Life  of  James  Wallack,"  large 
paper,  with  seventy-five  portraits,  and  autographs 
of  Sheridan,  Mathews,  EUiston,  Booth,  Hackett, 
Seguin,  Morris,  Kean,  and  Forrest;  also  play-bills 
inserted.  Among  tlie  portraits  are  those  of  George 
H.  Barrett,  Laura  Addison,  W.  E.  Burton,  G.  P. 
Morris,  J.  H.  Hackett,  and  J.  B.  Booth.  This  book 
has  been  illustrated  with  much  care,  and  is  a  great 
success  of  the  illustrator's  art, 

John  Gait's  "  Lives  of  the  Players,"  with  a  mul- 
titude of  scarce  and  valuable  theatrical  portraits,  has 
been  extended  from  one  to  four  volumes  and  in- 
laid to  royal  quarto;  these  volumes  are  illustrated 
by  a  unique  assortment  of  theatrical  matter,  and 
embrace  the  lives  of  David  Garrick,  Mrs.  Sarah 
Siddons,  Thomas  Holcroft,  Thomas  Doggett,  Mrs. 
Frances  Abington,  Tate  Williamson,  and  others, 
all  illustrated.  The  "Dramatic  Biographies  "  in- 
clude memoirs  of  the   Keans,  Kembles,   Mrs.  Sid- 

119 


dons,  Bellamy,  Inchbald,  Betterton,^  Wilks,  Cibber, 
Lewis,  DeCastro,  Clarke,  Forrest,  Hamblin,  and 
Cooke. 

There  is  also  Horace  Walpole's  "  Royal  and  No- 
ble Authors  of  England,  Scotland,  and  Ireland," 
with  one  hundred  and  fifty  portraits,  in  five  vol- 
umes, royal  quarto.  This  collection  is  a  great 
storehouse  of  memoirs.  ■  "  A  Description  of  Straw- 
berry Hill,"  containing  one  hundred  and  fifty  por- 
traits and  views,  with  Walpole's  original  manuscript 
inserted,  is  of  the  series. 

But  the  crowning  monument  of  Mr.  Arnold's  in- 
dustry and  liberality  is  Joseph  N.  Ireland's  "Rec- 
ords of  the  New-York  Stage,"  extended  to  twenty 
volumes.  For  the  materials  alone  of  this  collection 
Mr.  Arnold  assured  us  that  he  had  expended  over 
nine  thousand  dollars  (1882),  Any  effort  toward 
a  description  of  this  enormous  work,  without  a 
thorough  inspection,  must  be  a  failure.  There  are 
not  less  than  five  thousand  five  hundred  illustra- 
tions of  persons  and  scenes,  ranging  over  the  entire 

1  This  was  Gildon's  "  Betterton,"  1710.  Colley  Cibber,  in  his  "  Lives  of 
the  Famous  Actors,"  says :  "  Betterton  was  a  superlative  actor,  but  was 
clumsily  made,  having  a  great  head,  short  thick  neck,  stooped  at  the  shoul- 
ders, and  had  short  fat  arms  which  he  rarely  lifted  higher  than  his  stomach. 
His  left  hand  frequently  lodged  in  his  breast  between  his  coat  and  waistcoat, 
while  with  his  right  hand  he  prepared  his  speech.  His  actions  were  few  but 
just.  He  had  little  eyes  and  a  broad  face  a  little  pock-pitten,  a  corpulent 
body,  and  thick  legs  with  large  feet.     He  was  better  to  meet  than  to  follovv'." 

Evelyn  and  Pepys  note  Betterton's  triumphs,  Tillotson  learned  from  him 
his  effective  elocution,  Kneller  painted  him,  and  Pope  loved  him. —  Tticker- 
vian. 

120 


period  from  1750  to  i860.  And  another  copy  of 
the  same  with  two  hundred  illustrations. 

George  W  .Custis's  "Recollections  and  Private 
Memoirs  of  Washington,"  Memoir  by  B.  J.  Los- 
sing.  There  are  three  volumes  in  the  set,  contain- 
ing three  hundred  and  seventy-five  additional  prints, 
including  Generals  Braddock,  Wolfe,  Gates,  Bur- 
goyne,  Lafayette,  Arnold,  Ethan  Allen,  C.  W. 
Peale,  Sam  Adams,  and  John  Laurens.  Bound  by 
R.  W.  Smith,  in  blue  crushed  levant. 

But  as  to  external  elegance  and  internal  historical 
completeness,  nothing  in  this  collection  is  equal  to 
John  W.  Francis's  "  Old  New-York."  It  contains 
twenty-five  hundred  autographs,  portraits,  and 
views,  and  more  than  that  number  of  newspaper 
cuttings.  The  original  one  volume  has  been  ex- 
tended to  nine  royal  folio  volumes,  all  sumptuously 
bound  by  R.  W.  Smith,  of  New-York,  in  brown 
crushed  levant,  elaborately  tooled  inside  and  out. 
Nothing  has  been  spared  to  make  this  the  finest 
local  history  of  New-York  in  existence.^  There  is 
another  copy  of  this  work,  which  was  illustrated  by 
William  L.  Andrews,  in  two  volumes,  royal  octavo. 

1  Volume  I  is  entitled  "  Early  Typography,"  and  contains  eighty  portraits 
and  one  hundred  and  eighty-three  maps. — Volume  II,  "Administrative  His- 
tory," with  one  hundred  and  thirty  portraits,  besides  views. — Volume  III, 
"  Ecclesiastical  History,"  one  hundred  and  sixty-five  portraits  and  eighty 
views. — Volume  IV,  "  Dramatic  History,"  two  hundred  and  fifty  portraits 
and  sixty  views. — Volume  V,  •'  Progress  of  the  Fine  Arts,"  one  hundred  and 
fifty-two  portraits  and  one  hundred  and  forty-five  views,  with  autograph  let- 

9  121 


Also,  "New- York  During  the  Last  Half-Century," 
fully  illustrated. 

Another  very  noted  book  of  this  library  is 
"  Homes  of  American  Authors,"  by  George  P.  Put- 
nam. This  work  lies  near  the  heart  of  every  lover 
of  American  literature.  All  the  illustrations  are  on 
India  paper.  It  contains  seventy-five  autograph 
letters,  inserted  among  which  are  those  of  Edward 
Everett,  George  W.  Curtis,  Nathaniel  Hawthorne, 
Wm.  C.  Bryant,  R.  H.  Dana,  Wm.  H.  Prescott, 
W.  Gilmore  Simms,  and  John  P.  Kennedy. 

We  cannot  close  this  account  of  Mr.  Arnold  with- 
out one  glance  of  recognition  at  an  old  acquaint- 
ance—  Boswell's  "  Sam  Johnson  and  Johnsoniana," 
in  eleven  volumes,  with  about  one  thousand  illus- 
trations, including  William  Oldys,  Thomas  Chatter- 
ton,  Jacob  Tonson,  Sir  William  Davenant,  Philip 
Astley,  Bishop  Percy,  George  Stevens,  Hugh  Kelly, 
Robert  Wilks,  Sir  John  Hawkins,  Allan  Ramsay, 
and  Mrs.  Mary  Chudleigh,  with  original  drawings 
of  Catharine  Rudd.  These  volumes  were  bound 
by  Murray,  London. 

Next  comes  Peter  Cunningham's  "  Oliver  Gold- 

ters. — Volume  VI,  "  Literary  History,"  one  hundred  portraits  and  one  hun- 
dred and  eighty  views. — Volumes  VII  and  VIII,  "Life  of  the  Author,"  with 
two  hundred  and  fifty  portraits  and  one  hundred  and  seventy  views. — Vol- 
ume IX,  "  Mayors  of  New-York,"  autograph  letters  from  all  the  mayors 
from  1665  to  1872,  nearly  all  accompanied  by  portraits. 

Mr.  Arnold  paid  $3650  for  this  work  twenty  years  ago.  Estimating  upon 
the  natural  advance  of  first-class  material,  the  value  of  these  volumes  at  the 
present  time  would  far  exceed  $10,000. 

122 


smith,"  in  four  royal  octavo  volumes,  with  tvc'o 
hundred  and  fifty  portraits.  So  identical  was  the 
literary  and  social  atmosphere  in  which  Johnson 
and  Goldsmith  lived,  that  there  is  not  a  portrait 
in  the  latter  which  the  former  does  not  contain. 
As  to  the  men,  there  never  was  probably  a  greater 
contrast  between  two  famous  contemporaneous 
writers,  Johnson's  life  was  a  high  consistency; 
there  was  no  inflation  about  him;  he  was  quiet,  deep, 
and  solemn ;  what  he  did,  he  did  with  a  system  and 
with  a  method  all  of  which  was  strongly  in  contrast 
with  the  slovenly  wretchedness  of  the  unsystema- 
tized, tempest-tossed  career  that  lived  constantly 
with  Oliver,  and  which  never  entered  the  home  or 
heart  of  Samuel.  And  yet,  every  high  literary 
attractiveness  which  Johnson  possessed  was  found 
intensified  in  Goldsmith.  Johnson  wrote  stronger 
but  with  greater  difficulty ;  his  style  had  not  the 
same  graceful  ease  of  movement,  almost  care- 
lessness, but  always  good  taste  of  Goldsmith,  which 
has  made  the  works  of  the  latter  beloved  wherever 
the  English  language  is  spoken.  Goldsmith's 
great  superiority  was  manifest  when  he  projected 
his  imagination  into  space,  and  filled  it  with 
scenery,  events,  and  peopled  it  with  beings  never 
known  to  us  before. 

But  we   are   transcending  our  proper  domain. 
Goldsmith  may  have  been  a  better  man  than  John- 

123 


son,  but  the  latter  had  fixed  purposes.  Goldsmith 
was  a  waif  of  circumstances. 

Besides  the  above,  there  were  hundreds  of  illus- 
trated books.  Of  "  David  Garrick,"  by  Thomas 
Davies,  there  were  two  copies ;  of  Percy  Fitz- 
gerald's "  Garrick,"  there  was  a  copy  with  thirty 
portraits  of  Garrick,  and  over  one  hundred  other 
prints,  bound  by  Bedford;  also  "Private  Corre- 
spondence of  Garrick,"  and  "  Garrick  in  the  Green 
Room,"  with  seventy  portraits  of  Garrick,  bound  by 
Lewis;  "Public  and  Private  Life  of  Mrs.  Jordan" 
("Miss  Bland  or  Mrs.  Ford  "),  Mistress  of  the  Duke 
of  Clarence  "  ;  also  "  Count  Joannes  "  (George 
Jones);  Knight's  "Shakespeare";  "Tammany 
Society  "  ;  "  The  Croakers  "  ;  "  Cromwelliana  "  ; 
"Theatres  of  London";  besides  Granger's  "Bio- 
graphical History  of  England";  a  set  of  Thomas  F. 
Dibdin's  works  in  seventeen  volumes  ;  a  large  rep- 
resentation in  American  history  of  extremely  rare 
works;  "  Hakluyt  Society,  Early  Voyages,"  com- 
plete ;  also  French,  English,  and  American  Fiction 
and  Bibliography. 

The  histrionic  art  has  also  been  nobly  and  wor- 
thily represented  in  extra-illustrated  literature 
by  Augustin  Daly  of  New-York.  He  has  per- 
formed herculean  and  chivalric  work  in  illustrating 
the  drama.  He  illustrated  the  "Memorial"  pre- 
sented by  loving  hands  to  commemorate  that  good 

124 


man  George  Holland,  who  went  to  his  narrow 
resting-place  from  the  "Little  Church  Around  the 
Corner."  There  were  only  fifty  copies  of  this  "Me- 
morial "  printed.  This  one  has  been  extended  to 
two  stout  volumes  by  the  insertion  of  two  hundred 
prints,  including  one  original  sketch  of  Holland  as 
the  "Fat  Boy  "in  "Pick  wick,  "by  Tom  Worth;  draw- 
ings of  Delphini  the  clown,  Mrs.  Blanchard,  T.  S. 
Cooper,  Holland  as  "Paul  Pry,"  etc.;  bound  in 
claret  levant,  by  R.W.  Smith  of  New-York.  Also, 
a  "Sketch  of  Edwin  Booth";  and  another  charm- 
ing work,  the  "Life  of  Richard  Brinsley  Sheridan," 
the  English  Hyperides,  illustrated  by  three  hun- 
dred and  fifty  portraits,  views,  and  autograph  let- 
ters, making  two  thick  royal  quarto  volumes,  bound 
by  R.  W.  Smith.  Here  is  also  Arthur  Murphy, 
author  of  "Johnson  and  Garrick,"  extended  to  three 
quarto  volumes,  and  illustrated  by  over  two  hun- 
dred and  twenty  inserted  prints. 

Mr.  Daly  has  illustrated  the  folio  Douay  Bible, 
published  at  Dublin,  1753.  This  work  he  has 
extended  to  fifty  volumes.  It  contains  original 
drawings  by  Raphael,  Blake,  Bewick,  and  others, 
as  well  as  etchings  by  Rembrandt,  Diirer,  Hogarth, 
and  many  others.  It  also  contains  thousands  of 
the  choicest  enorravino-s.      It  is  a  mammoth  work. 

James  Boswell's  "Life  of  Samuel  Johnson"  is  here 
extended  to  six  volumes  by  the  insertion  of  over  six 

125 


hundred  prints,  mostly  portraits;  bound  by  Bain, 
of  London,  in  full  crimson  levant.  Could  Johnson 
come  back  to  earth,  he  would  probably  express  his 
approbation  of  this  book  by  his  accustomed  "grunt." 
We  further  note  Campbell's  "Life  of  Mrs.  Sid- 
dons"  (probably  never  written  by  Thomas  Campbell 
—  it  is  a  slovenly  performance),  with  one  hundred 
and  sixty  prints,  many  rare  portraits  of  Mrs.  Sid- 
dons.  Robert  Chambers's  "Book  of  Days,"  two 
volumes,  octavo,  extended  to  twelve,  each  forming 
one  month,  having  many  hundred  prints  inserted, 
newspaper  cuttings,  broadsides,  and  old  playbills,  a 
curious  and  interesting  assemblage  of  portraits,  and 
some  original  drawings.  Also,  Peter  Cunning- 
ham's "  Story  of  Nell  Gwyn,"  extended  to  imperial 
octavo,  with  one  hundred  and  fifty-six  rare  portraits 
inserted ;  bound  in  crimson  levant  by  Bradstreet. 
Although  this  seems  to  be  a  book  of  matchless 
beauty,  yet  it  is  to  be  superseded  by  another  life 
of  Nell  which  will  far  transcend  it  in  both  quality 
and  quantity.  It  will  be  in  four  folio  volumes,  and 
will  have  no  equal  in  America.  S.  Spooner's  "  Bio- 
graphical History  of  the  Fine  Arts,"  large  paper, 
two  volumes,  extended  to  four  by  the  insertion  of 
one  thousand  portraits,  etchings,  drawings,  etc. 
"  Thespis:  a  Critical  Examination  into  the  Merits 
of  the  Principal  Performers  belonging  to  the  Drury 
Lane  Theatre,"  by  Hugh  Kelly,  the  whole  inlaid  to 

126 


folio,  and  one  hundred  and  fifty  extra  prints  inserted, 
with  forty  various  portraits  of  Garrick  and  others. 
F.  W.  Hawkins's  "Life  of  Edmund  Kean,"  extended 
to  fourteen  volumes,  large  folio.  Percy  Fitzgerald's 
"Life  of  Garrick,"  extended  to  fifteen  volumes. 
These  volumes  contain  many  rare  autographs,  Gar- 
fick's  first  will,  with  his  signature  on  every  page. 

In  the  association  of  these  two  great  names  we 
recall  what  Donaldson  said  in  his  "Recollections" — 
"that  Kean  was  the  only  actor  that  never  allowed 
a  London  manager  to  place  his  name  in  the  bills 
for  a  secondary  character.  Even  Garrick  when  an 
engaged  performer  had  to  personate  inferior  parts." 

William  Henry  Ireland's  "Forgeries,"  the  largest 
collection  in  the  world,  containing  all  the  original 
manuscript  of  Ireland's  confession,  original  draw- 
ing of  his  new  portrait  of  Shakspeare,  etc.  An- 
other copy  of  Boswell's  "Johnson,"  extended  to 
ten  volumes,  quarto,  containing  an  extraordinary 
collection  of  Johnson  and  Boswell  autographs. 
Doran's  "Annals"  and  Genest's  "History  of  the 
English  Stage,"  each  extended  to  twenty-five 
volumes,  quarto.  There  are  some  of  the  rarest 
theatrical  prints  known  in  these  collections.  Also, 
William  Makepeace  Thackeray's  "Letters  to  Ann 
Burchfield,"  the  printed  pages  faced  with  all  the 
originals  of  these  letters,  besides  many  others ; 
with  original  drawings,  and  unpublished  letters  and 

127 


sketches  of  Thackeray,  extended  to  three  large 
foHo  volumes,  inlaid  by  Trent. 

"Signers  of  the  Declaration  of  Independence," 
the  "Presidents  and  Vice-Presidents  of  the  United 
States,"  each  extended  to  three  volumes,  quarto,  a 
complete  set  of  autographs  and  autographic  letters 
accompanying  each. 

Colley  Gibber's  "  Apology  for  His  Own  Life," 
1 740 ;  about  five  hundred  portraits,  with  some  rare 
tracts,  have  been  added  to  this  work,  extending  it  to 
three  volumes,  folio.  This  is  a  delightful  book. 
The  work  was  done  by  Toedteberg,  and  bound  by 
Matthews. 

And  now  comes  Augustin  Daly's  privately 
printed  plays  as  acted  at  his  own  theater,  viz. : 
"Merry  Wives  of  Windsor";  "Midsummer  Night's 
Dream";  "As  you  Like  it";  "Love's  Labour's 
Lost " ;  "  The  Country  Girl "  ;  "  Recruiting  Officer" ; 
"She  Would  and  She  Would  n't"  ;  "The  Incon- 
stant"; "The  Gritic";  and  "The  School  for 
Scandal." 

All  of  these  plays  were  enlarged,  some  to  small, 
others  to  large  folio,  and  illustrated  with  portraits 
of  the  actors  who  have  appeared  in  them  respec- 
tively since  they  were  first  produced ;  also  original 
drawings  of  the  costumes,  scenes,  playbills,  etc. 
Of  each  of  the  plays  of  vShakspeare  an  extra  copy 
was  treated  in  the  same  manner,  and  generousl)^ 

128 


donated  by  Mr.  Daly  to  the  Stratford  Memorial 
Library.  The  task  of  arranging-  and  inlaying  the 
foregoing  and  following  volumes  belonging  to  Mr. 
Daly  was  performed  by  Augustus  Toedteberg. 
Ridgway's  "Memoirs  of  Mrs.  Billington,"  with  the 
answer  ;  '*  Mr.  and  Mrs.  John  Wood  "  ;  "  Fanny 
Elssler";  ''Lola  Montez  "  ;  "Ira  Aldridge  "  ; 
"  Charles  Kean  "  ;  "  Barney  Williams  "  ;  "  Coque- 
lin  versus  Irving  "  ;  "  Henry  Irving."  All  of  the 
above  works  have  been  enlarged  to  uniform 
folio,  and  illustrated  by  a  vast  number  of  prints, 
drawings,  water-colors,  etc.  And  now  comes  Mr. 
Daly's  colossus,  the  complete  title-page  to  the 
finished  and  bound  volumes  of  which  is  as  follows  : 
"  Records  of  the  New-York  Stage  from  1750  to 
i860,  by  Joseph  N.  Ireland,  Extended  and  Extra 
Illustrated  for  Augustin  Daly  by  Augustus  Toed- 
teberg, published  by  T.  H.  Morrell,  1867."  The 
original  two  quarto  volumes  of  this  work  have 
been  extended  to  thirty-three  large  thick  folios,  by 
the  insertion  of  ten  thousand  three  hundred  illus- 
trations, consisting  of  about  four  hundred  water- 
colors,  drawings,  original  and  otherwise,  several 
thousand  portraits  of  authors,  actors,  and  actresses, 
a  great  number  of  autographs  of  the  same,  scenes 
from  plays,  portraits  of  celebrated  men  and  wo- 
men of  historical  note  upon  whom  plays  have 
been    founded    and   who    have    been    represented 

129 


upon  the  stage,  as  Richelieu,  Cromwell,  the 
Richards  and  Henrys  of  England.  There  is  a 
collection  of  about  one  thousand  playbills,  com- 
mencing 1 794  at  the  Old  John  Street  Theater ; 
also  biographical  sketches,  cuttings,  and  obitu- 
aries of  nearly  every  person  deceased  named  in 
the  book  ;  all  the  different  views  of  theaters  ob- 
tainable have  also  been  added  to  the  work.  This 
has  been  the  life-work  of  Mr.  Toedtebergf.  The 
arrangement  of  the  illustrations  in  the  work  is 
unique.  In  the  make-up  of  the  work  none  but 
the  very  best  material  has  been  used ;  the  whole 
bound  by  Stikeman,  in  half  crimson  levant.  This 
work  is  still  unfinished;  a  volume  is  occasionally 
added  when  sufficient  new  material  has  accumu- 
lated, and  these  unconformable  issues  will  continue 
probably  so  long  as  Mr.   Daly  continues. 

We  have  one  more  book  to  describe  of  this  col- 
lection. It  is  the  "  Life  of  Peg  Woffington,"  by 
Augustin  Daly.  The  original  volume  is  a  folio, 
printed  on  one  side  of  the  paper  only ;  there  are 
but  two  copies  in  this  state.  This  is  a  famous  book, 
its  entire  get-up  is  sans  defatct,  and  it  is  more  sug- 
gestive of  illustrations  than  any  work  we  have 
ever  seen.  A  gentleman  of  New-York  who  ex- 
amined it  leisurely,  pronounces  it  one  of  the  finest 
specimens  of  book-illustrating  in  the  world.  It  is 
illustrated  by  the  addition  of  aquarelles  on  the  mar- 

130 


gins  by  M,  Eugene  Grivaz,^  who  is  an  artist  of  more 
than  passing  merit,  and  has  produced  some  delicate 
effects.  The  artist  had  but  faint  notions  of  the  will 
of  the  owner  or  of  the  subjects  for  which  he  wanted 
pictorial  treatment ;  suggestions  had  been  made  to 
him  through  a  correspondence  only.  The  agent 
who  gave  Grivaz  the  book  says:  "  I  was  in  fear 
and  tremblinor  during-  the  four  months  the  book 
was  in  Paris.  I  had  visions  of  the  returned  pre- 
cious volume,"  said  he,  "with  Molieresque  fig- 
ures and  everything  French.  Imagine  my  delight 
when  I  found  the  sentiment  of  the  drawings  as 
Irish  as  Peg  herself."  The  page  where  Mr.  Daly 
has  recounted  the  first  visit  of  the  actress  to  Rich, 
the  London  manager,  a  gentleman  so  fond  of  fe- 
lines that  twenty-seven  cats  pervaded  his  breakfast- 
room, — on  this  occasion  to  Peg's  evident  disgust, — 
is  an  epic.^ 

We  remember  an  engraving  from  Smallfield's 
painting,  representing  this  first  interview  of  Peg 
with    manager    Rich    at    his    breakfast-table    sur- 

1  Eugene  Grivaz  graduated  in  art  as  a  pupil  of  the  £cole  des  Beaux  Arts, 
and  of  Lefebvre  and  Boulanger,  and  his  debuts  were  made  as  a  painter  in  oil. 
He  paints  in  oil  and  water-colors  with  equal  facility,  but  his  most  brilliant 
and  best-known  productions  are  in  the  latter  medium,  with  which  indeed  he  is 
most  in  sympathy. — Collector. 

2  The  love  of  cats  is  not  a  ridiculous  passion,  judging  from  the  men  and 
women  who  have  indulged  in  it.  Richelieu  loved  cats.  Mahommed  cut  the 
sleeve  out  of  his  garment  rather  than  disturb  a  favorite  cat  asleep  upon  it. 
The  poet  Gray  wrote  an  ode  on  the  death  of  "  Selina,"  Horace  Walpole's 
favorite  pussy.  Bob  Southey  kept  a  lot  of  plump  and  healthy  cats  which 
ladies  of  his  kitchen  nursed  and  the  Keswick  apothecary  dosed.     Petrarch 


rounded  by  his  cats.  The  artist  in  the  aquarelle  of 
the  present  volume  has  portrayed  the  tortoise-shell, 
brindled,  yellow,  red,  black,  and  white,  Siamese, 
Russian,  and  Maltese.  There  are  forty  drawings 
or  water-color  paintings  in  this  volume,  any  one 
of  which  is  worthy  of  special  mention  as  a  work 
of  art. 

The  encounter  between  Peg  and  Kitty  Clive  is 
an  animated  scene.  Peg  is  represented  in  the  act 
of  delivering  a  "chopper"  on  the  head  of  Kitty,  as 
the  latter  slightly  stoops.  Altogether,  the  manner 
in  which  this  brace  of  beauties  are  represented  as 
exchanging  "compliments"  indicates  that  neither 
of  them  are  "Corinthians"  in  the  wily  methods  of 
the  manly  art.  At  page  io8  Wofhngton  represents 
the  character  of  Andromache.  At  page  131  is  a 
representation  of  the  disturbance  in  the  Dublin 
Theater.  A  charming  piece  is  Peg  taking  her  les- 
son or  declaiming  before  Mad.  Dumesnil.  On  page 
89  she  is  in  the  somber  character  of  Lady  Jane 
Grey ;  there  is  sadness  in  the  picture,  and  it  is  well 
executed.     Page  97  represents  Peg  taking  passage 

had  his  pet  embalmed.  Andrea  Doria,  a  ruler  in  Venice,  had  his  dead  cat's 
portrait  painted.  The  cat  of  Cardinal  Wolsey  sat  by  his  side  when  he  gave 
audience  or  received  princes.  Rousseau  loved  cats,  and  Sir  Isaac  Newton 
cut  a  large  hole  in  his  barn  for  their  convenience.  Edgar  Allen  Poe  wrote  a 
thrilling  tale  of  a  black  cat.  Lady  Macbeth  alludes  to  the  household  pet. 
Dr.  Johnson  had  a  cat  which  he  called  Hodge,  on  which  he  doted.  Lord 
Chesterfield  when  he  died  left  a  pension  to  his  cats  and  their  posterity. 
Paid  De  Koch  had  thirty  cats.  Chateaubriand  was  passionately  fond  of  cats. 
Whiltington  and  his  cat  are  familiar  in  history. 

132 


for  Dublin.  She  is  sitting  upon  her  trunks,  alone 
and  apparently  friendless,  a  striking  contrast  to  her 
subsequent  career.  Page  141  represents  Woffing- 
ton  and  Tate  Wilkinson ;  a  characteristic  scene. 
Page  147  represents  the  hand  of  death  striking 
the  actress.  She  clutches  the  wings  of  the  scenery 
and  falls  into  the  arms  of  her  attendant.  And  last, 
at  page  171,  the  tomb,  with  the  shadowy  figure  of 
Shakspeare  paying  tribute  over  the  grave  of  Peg, 
is  well  conceived  and  equally  well  rendered. 

This  work  will  probably  be  extended  to  four  vol- 
umes folio.  The  original  text  is  in  folio,  and  money 
will  not  be  wanting  to  make  it  the  finest  book  in 
the  world. 

It  was  not  our  intention,  in  projecting  this  volume, 
to  enter  into  a  report  of  books  illustrated  by  this 
method,  and  but  few  have  fallen  under  our  observa- 
tion ;  none  have  been  sought  for.  A  very  beautiful 
book,  "The  New  Helen,"  a  poem  by  Oscar  Wilde, 
and  illustrated  in  water-color  drawings  by  Edward 
Weisgerber,  of  Cleveland,  Ohio,  is  described  in 
another  part  of  this  volume. 

Another  work,  entitled  "Valentino,"  illustrated 
by  Major  Cronin  for  and  under  the  direction  of  Mr. 
William  W.  Astor,  is  a  delightful  book.  And  yet 
another  for  Mr.  Astor,  by  the  same  artist,  "Sforza," 
Mr.  Astor  suggesting  nearly  all  the  subjects. 

"On  the  second  fly-leaf  of  this  volume  is  a  por- 

133 


trait  of  Sforza,  Duke  of  Milan,  in  pen  and  ink,  with 
background  finished  nearly  square,  as  in  a  steel-en- 
graving. The  next  fly-leafcontains  a  general  view 
of  Milan  in  the  year  1500.  The  fly-title  shows  an 
aquarelle,  representing  a  fallen  Corinthian  column 
with  a  lizard  crawling  over  it.  Foliage  and  distant 
ruins  fill  in  the  background.  On  the  title-page, 
between  the  lines  of  print,  is  a  reproduction  of  a 
coin  of  Sforza's  reign,  owned  by  the  author.  The 
dedication  page  is  illuminated  with  an  antique  ink- 
horn  set  in  wreaths  of  gold,  holding  variegated 
pheasants'  quills,  which  reach  nearly  to  the  top  of 
the  page  ;  a  Cupid  toils  with  the  quills,  and  the  horn 
rests  on  a  carved  and  jeweled  bracket  clasped  with 
corn-flowers. 

"At  the  beginning  and  end  of  every  chapter  are 
drawings  in  water-colors,  illustrating  the  general 
tenor  of  the  story,  or  some  particular  incident  re- 
lated in  the  text,  and  they  include  figures  in  the 
costumes  of  the  middle  ages,  warriors,  women,  and 
conjurors,  Italian  landscapes,  castles  and  palaces, 
historical  portraits,  Venetian  marines,  battles,  dra- 
matic situations,  and  character  heads.  Neither  the 
historical  nor  dramatic  features  of  the  novel  are 
neglected,  and  the  concluding  fly-leaf  is  a  full-page 
water-color,  representing  the  last  scene  in  Sforza's 
X\{^r— New -York  World} 

1  See  Chapter  VII.  of  this  work. 


Abram  Hosier  has  also  long  been  engaged  in 
this  work  for  many  of  the  New-York  illustrators, 
an  account  of  which  will  appear  in  the  list  of  their 
illustrated  books  respectively/  Mr.  Hosier  illus- 
trated the  "Jersey  Prison  Ships"  for  Charles  I. 
Bushnell,  Esq.;  also  "Memoirs  of  Mrs.  Coghlan," 
for  William  L.  Davis,  Esq.;  and  Bryan's  "Diction- 
ary of  Painters,"  for  William  Wetmore.  He  did  a 
great  amount  of  work  for  Mr.  Menzies  in  his  "Life 
of  Washington,"  included  in  which  was  a  complete 
set  of  Washington's  headquarters,  drawn  from  na- 
ture ;  and  he  is  now  engaged  on  the  great  work  of 
Thomas  J.  McKee. 

"The  Collector"  says:  "When  A.  M.  Palmer, 
who  has  always  had  a  semi-professional  leaning  to 
bookishness,  commenced  to  make  a  history  of  the 
Union  Square  Theater,  he  doubtless  contemplated 
only  a  record  of  that  house  which  his  management 
made  prosperous  and  famous  all  over  the  world 
where  playhouses  exist,  which  should  tell  the  story 
of  his  actual  association  with  it."  The  "  History 
of  the  Union  Square  Theater  under  A.  M.  Palm- 
er's Management  "  is  now  complete  in  twelve  bulky 
folio  volumes.  It  is  a  perfectly  unique  work,  and 
contains  over  six  hundred  autobiographies  of  the 
various  actors  and  actresses  who,  during  this 
management,    appeared    upon  its  boards.     There 

1  And  in  Chapter  VII.  of  this  work. 

135 


are  also  about  thirty-five  hundred  portraits,  play- 
bills, plays,  drawings,  and  music  produced  in  this 
playhouse.  Probably  no  more  complete  record  of 
the  reign  of  any  one  manager  was  ever  or  is  pos- 
sible to  be  produced.  It  is  not  only  a  history  of 
the  Union  Square  Theater  during  this  most  bril- 
liant period  of  its  career,  but  it  contains  valu- 
able references  to  nearly  every  great  playhouse 
in  the  world.  There  is  a  mass  of  personal  corre- 
spondence with  the  manager,  shedding  light  upon 
his  relations  with  the  chief  dramatic  characters  of 
our  day. 

The  library  of  Mr.  Palmer  is  largely  composed  of 
theatrical  literature  and  the  —  drama.  Among  the 
many  valuable  books  in  his  collection  maybe  men- 
tioned Ryley's  "Itinerant,"  the  rare  1808  edition, 
in  nine  volumes.  The  existence  of  the  first  three 
volumes  of  this  series  was  long  doubted  by  book- 
men. This  set  has  five  autographic  letters  of  the 
author  inserted.  Tate  Williamson's  "  Memoirs,"  in 
three  volumes;  "The  Wandering  Patentee,"  three 
volumes;  Sayre's  "Collection  of  Dramatic  Por- 
traits"—  it  is  an  ornate  copy  with  extra  portraits 
added;  Joseph  N.  Ireland's  "Records  of  the  New- 
York  Stage,"  two  volumes,  which,  when  finished, 
will  consist  of  about  thirty  volumes,  containing  in 
portraits  alone  over  three  thousand,  besides  almost 
every  other  variety  of  illustration ;  also  "A  Memoir 

136 


of  John  McCullough,"  with  extra  portraits,  auto- 
graph letters,  and  manuscript. 

Mr.  Palmer  has  many  privately  illustrated  edi- 
tions of  Shakspeare  and  of  the  early  English  au- 
thors ;  several  fine  examples.  He  has  undertaken  a 
work  which  would  seem  to  be  an  endless  one,  namely, 
to  illustrate  "  The  Lives  of  Actors  and  Actresses," 
by  Laurence  Hutton ;  this  is  to  be  carried  out  on  the 
same  plan  as  the  "  History  of  the  Union  Square 
Theater."  A  conception  of  the  magnitude  and  im- 
portance of  these  works  may  be  obtained  from  a 
description,  but  an  actual  comprehension  of  them 
can  only  be  gained  by  an  examination  day  by  day. 
Mr.  Palmer  will  now  have  to  compile  a  similar 
"  Record  of  the  Madison  Square  and  Broadway 
House,"  which  he  rescued.  We  hope  the  period  of 
Mr.  Palmer's  sojourn  may  be  extended  to  complete 
both  of  the  above  undertakings. 

It  was  our  original  intention,  as  before  stated,  to 
limit  this  work  territorially  to  New-York  and  vicin- 
ity, but  visits  made  to  Boston,  Philadelphia,  and 
Chicago,  shortly  after  the  publication  of  the  first 
edition,  convinced  us  that  book-illustrating  was  not 
confined  to  this  great  metropolis ;  and  we  are 
greatly  mistaken  if  Boston  on  the  basis  of  popula- 
tion does  not  stand  at  the  head  of  the  list  in  this 
expensive  luxury.  We  have  had  greater  facilities 
for  canvassing  New- York  and  Brooklyn  than  others 

137 


of  the  great  cities,  but  we  are  familiar  enough  with 
the  custom  to  know  that  it  has  a  status  in  almost 
every  important  city  in  the  country.  Away  from 
the  great  centers,  however,  it  takes  the  form  of 
local  histories  and  institutions,  many  of  which  we 
have  seen  and  examined.  They  are  indeed  valu- 
able collections,  but  too  special  for  our  present 
purpose. 

Curtis  Guild,  Esq.,  editor  and  proprietor  of  the 
"  Commercial  Bulletin,"  Boston,  is  the  owner  of 
the  celebrated  Washington  Irving's  "Life  of  George 
Washington,"  the  illustration  of  which  was  com- 
menced by  Thomas  H.  Morrell,  who  added  to  it 
eleven  hundred  prints,  including  one  hundred  and 
forty-five  portraits  of  Washington  and  fifty  auto- 
graph letters.  It  was  sold  at  the  Morrell  sale  in 
1866  to  Mr.  Menzies  for  $2000,  from  whose  heirs 
Mr.  Guild  purchased  it  at  private  sale  in  1879,  and 
to  which  he  has  made  extensive  and  valuable  ad- 
ditions. It  now  consists,  with  the  memorial  vol- 
ume of  Washington  Irving,  of  eleven  volumes, 
containing  battle  plans  and  views  of  the  Revolu- 
tionary war,  many  of  which  are  unique,  with  auto- 
graph letters,  muster-rolls,  military  orders,  printed 
broadsides  of  the  time,  and  many  original  water- 
color  drawings. 

There  are  actual  written  manuscripts  of  Wash- 
ington, Franklin,  Generals  Gage,  Gates,  Lincoln, 

138 


Burgoyne,  Marion,  Sumter,  Wayne,  Knox,  Put- 
nam, Benedict  Arnold,  Tom  Paine,  Jefferson,  Sam 
Adams,  John  Adams,  Hancock,  Jay,  and  many 
others.  We  are  here  brought  face  to  face  with  the 
past,  to  read  of  Washington's  request  to  General 
Heath  to  prepare  Massachusetts  troops  for  the 
field,  and  then  read  in  Heath's  own  handwriting 
his  letter  referring  to  the  order  to  his  subordinates 
calling  them  out.  These  eleven  volumes  are  each 
about  the  size  of  Webster's  Unabridged.  They  are 
elegantly  bound  in  green  crushed  levant.  Follow- 
ing comes  Robert  Chambers's  "Book  of  Days," 
originally  in  two  volumes,  now  extended  to  twelve 
by  the  insertion  of  a  vast  number  of  portraits  and 
views  and  other  rare  and  curious  matter;  each  vol- 
ume forms  one  month.  "Memoirs  of  John  Ban- 
nister, the  Comedian,"  extended  from  two  to  four 
volumes,  two  hundred  and  ninety-six  prints,  nearly 
all  proofs,  bound  by  Riviere. 

Percy  Fitzgerald's  "Life  of  David  Garrick,"  ex- 
tended by  Mr.  Guild  from  one  to  four  thick  volumes, 
is  illustrated  in  the  most  liberal  manner  by  rare 
portraits  of  Garrick  in  and  out  of  character,  and  all 
the  actors  mentioned  in  the  text,  as  Barry,  Ouin, 
Foote,  Woodward,  Mossop,  Barton,  Booth,  King, 
Yates,  Badderiy,  Mrs.  Siddons,  Mrs.  Pope,  Mrs. 
Jordan,  Peg  Woffington,  and  all  the  rest,  besides 
numerous  rare  and  valuable  autograph   letters  of 

139 


both  actors  and  actresses  referring  to  professional 
matters  of  great  historical  interest.  Among  the 
autographic  mementos  in  these  volumes  may  be 
mentioned  a  letter  of  David  Garrick,  one  of  Sam 
Johnson,  one  of  Madame  Piozzi  in  which  she  men- 
tions Mrs.  Siddons,  a  note  of  "  Gentleman  "  Smith, 
letters  of  Colley  Gibber,  Barton,  Booth,  Sam 
Foote  speaking  of  Munden  and  Bannister's  act- 
ing. Among  the  extra  illustrations  are  a  set  of 
what  are  known  as  the  rare  cabinet  series  and  rare 
contemporary  prints  of  Garrick  and  others  in  the 
costumes  in  which  they  played  the  different  char- 
acters. That  oi  Macbeth,  for  instance,  in  full  court- 
dress  of  laced  coat  and  waistcoat  and  bag-wig ; 
Hamlet  in  black  court  suit ;  and  Lear  in  similar 
costume,  except  that  the  coat  was  trimmed  with  fur. 
The  portraits  of  actresses  in  character  are  equally 
amusing.  Lady  Macbeth  being  represented  as 
dressed  in  the  enormous  hoop-skirt  and  head-dress 
of  the  period,  Constance  in  "King  John,"  by  Mrs. 
Spranger  Barry,  in  similar  dress.  Bound  in  at  the 
end  of  the  volumes  is  the  contemporary  catalogue 
of  Garrick's  estate  and  effects,  which  were  sold  at 
auction  July  23,  1823.  Taking  these  volumes  as 
a  whole,  they  form  an  unusually  valuable  memorial 
of  Garrick  and  his  times. 

The   "Memoir  of  Joseph  Grimaldi,"  by  Boz,  of 
itself  an  exceedingly  rare  book,  has  been  extended 

140 


by  the  insertion  of  numerous  extra  illustrations, 
curious  autographs,  letters  of  Grimaldi  and  his  son, 
also  playbills  and  many  other  curious  relics  of  this 
remarkable  man. 

Mr.  Guild's  love  of  dramatic  literature  found  an 
ample  scope  in  illustrating  the  large-paper  edition 
of  the  "American  Dramatic  Series,"  issued  by 
James  R.  Osgood  and  Co.,  Boston.  Of  this  inter- 
esting series  Mr.  Guild  obtained  the  first  copy  from 
the  press,  each  certified  by  the  publisher's  auto- 
graph, and  which  he  has  extended  by  the  insertion 
of  hundreds  of  extremely  rare  and  interesting 
prints,  besides  original  water-color  portraits  of  the 
elder  Booth  and  his  three  sons,  the  Placide  brothers, 
Thomas  Barry,  George  H.  x^ndrews,  Mrs.  W.  H. 
Smith  and  other  Boston  favorites,  as  well  as  a 
great  many  autograph  letters.  Space  will  not  per- 
mit more  than  an  allusion  to  some  of  the  latter,  in- 
dicating the  value  of  this  set  of  seven  portly  volumes. 
Letters  are  inserted  of  Frangois  Joseph  Talma,^ 
Georges  Lemaitre  (the  Talma  of  the  Boulevards), 

1  Talma  was  one  of  the  most  successful  comedians  of  his  time,  and  he 
owed  his  first  great  success  as  an  actor  to  the  fact  that  the  pfublic  forced 
the  Comedie  Fran9aise  to  perform  the  tragedy  of  "Charles  IX.,"  by 
Chenier.  Up  to  this  period  Talma  had  played  only  indifferent  parts.  In  this 
play  he  was  superb,  and  the  people  became  filled  with  enthusiasm  for  him. 
Talma  afterward  represented  Proculus  in  the  "  Brutus  "  of  Voltaire,  whence 
he  again  outshone  all  other  actors.  It  was  the  first  time  that  he  appeared 
dressed  rigorously  according  to  tlie  antique  in  a  toga  and  with  bare  legs. 
Mademoiselle  Coutat,  who  played  in  the  same  piece,  was  scandalized  at  this; 
but  the  pit  applauded  to  the  skies,  not  only  the  actor  and  the  piece,  but  the 
bare  legs  —  he  was  sans-culotte! — Phipson. 

141 


Edmund  Kean,  George  F.  Cooke,  J.  P.  Kemble, 
Ellen  Tree,  Edwin  Forrest,  J.  B.  Booth,  Edwin 
Booth,  Charlotte  Cushman,  Mrs.  Mary  A.  Duff, 
John  Gilbert,  Brougham,  Burton,  Hackett,  Daven- 
port, the  Wallacks,  the  Jeffersons,  the  Logan  sisters, 
and  a  host  of  others. 

Other  volumes  of  Mr.  Guild's  collection  of  dra- 
matic works  were  similarly  treated,  as  the  "  Life 
of  Thomas  Abthorpe  Cooper,"  Lester  Wallack's 
"Memories,"  and  "Old  Drury,"  to  say  nothing  of 
autographic  presentation  copies  from  various  act- 
ors of  "Recollections,"  "Reminiscences,"  "Expe- 
riences," of  which  he  possessed  many. 

Again  we  have  J.  J.  Field's  "Yesterdays  with 
Authors,"  extended  to  four  large  volumes  by  the 
insertion  of  two  hundred  and  fifty  portraits  and  one 
hundred  and  eight  original  autograph  letters  of 
distinguished  authors,  as  Pope,  De  Ouincey,  Long- 
fellow, Tennyson,  Bryant,  Southey,  Coleridge, 
Thackeray,  Carlyle,  Victor  Hugo,  Macaulay,  Be- 
ranger,  Guizot,  Landor,  and  others. 

Another  exceedingly  interesting  work  is  Frank 
D.  Goodrich's  "  Court  of  Napoleon."  This  work 
has  been  extended  from  one  to  three  large  volumes. 
In  these,  besides  the  great  number  of  rare  engraved 
portraits  and  water-color  drawings,  there  are  auto- 
graph letters  of  every  one  of  the  Bonaparte  family, 
from  the  mother  of  Napoleon  L  to  Eugenie.      Be- 

142 


ginning  as  the  text  does  with  the  scenes  of  the 
French  Revolution,  we  have  the  original  orders  ot 
Robespierre,  Carnot,  Danton,  and  the  bloodthirsty 
letters  of  Barras  and  Tallien  ;  one  of  the  ill-fated 
Princess  Lamballe,  whose  head  was  carried  through 
the  streets  of  Paris  on  a  pike  by  the  mob;  also, 
of  the  ill-fated  Marie  Antoinette,  Mirabeau,  and 
Herault.  Following  these  were  the  letters  of  Bona- 
parte as  first  consul,  Josephine,  Cambaceres,  Cha- 
teaubriand, Marshals  Junot,  Murat,  Ney,  Duroc, 
Soult,  Macdonald,  Beauharnais,  and  others  of  mili- 
tary renown.  Then  come  Bonaparte's  letter  as  em- 
peror, and  one  of  Pius  VII.,  who  crowned  him  ;  and 
it  seems  almost  like  being  transported  back  to  the 
great  soldier's  time  to  be  perusing  the  manuscript 
orders  of  Fouche,  minister  of  police;  of  the  emper- 
or's uncle,  Cardinal  Fesch ;  of  David,  his  great 
painter;  Talma  and  Georges,  dramatic  celebrities; 
and  to  be  reading  the  very  lines  penned  by  Ca- 
nova,  the  great  sculptor  ;  or  those  that  were  traced 
by  the  fingers  that  guided  the  bow  of  that  most 
wonderful  of  all  violinists,  Paganini ;  Cuvier,  Le 
Grange,  Isabey,  Gros,  Madame  de  Stael,  Madame  de 
Genlis,  and  other  scholars,  artists,  and  celebrities. 

Want  of  space  permits  us  to  trespass  no  further, 
although  we  leave  undescribed  many  rarities  ol 
Mr.  Guild's  famous  collection.  Two  souvenir  vol- 
umes,   however,    which    until    this    moment   were 

143 


unobserved,  demand  a  passing  reference.  One,  of 
Henry  Wadsworth  Longfellow,  is  entirely  unique, 
being  composed  of  autograph  letters  concerning 
his  works  to  the  owner  hereof,  and  containing  an 
autograph  copy  of  his  "Excelsior,"  with  comments 
upon  the  "when,  why,  and  how"  he  wrote  it;  and  a 
souvenir  volume  of  Oliver  Wendell  Holmes,  con- 
taining autograph  copies  of  his  "  Last  Leaf,"  "  Old 
Ironsides,"  "Chambered  Nautilus,"  and  numerous 
autograph  letters  concerning  his  writings. 

"  Henry  Crabb  Robinson's  Diary,"  extended  to 
three  large  volumes  with  two  hundred  prints  in- 
serted, and  Boswell's  "Life  of  Sam  Johnson,"  en- 
larged by  the  insertion  of  over  three  hundred 
portraits  of  persons  mentioned  in  the  work,  includ- 
ing sixteen  of  Johnson.  No  man  ever  lived  of 
whom  so  much  has  been  said,  and  of  which  so  little 
has  been  commendatory.  One  other  work,  James 
Parton's  "Life  of  Benjamin  Franklin,"  in  six  regal 
volumes ;  this  set  is  rich  in  choice  engravings  and 
rare  autograph  letters.  Among  the  latter  are 
many  of  Franklin,  Washington,  Paine,  Paul  Jones, 
Voltaire,  Lafayette,  Robert  Morris,  Louis  XVI., 
William  Penn,  John  Wesley,  and  Richard  H.  Lee. 
The  complete  works  of  Charles  Dickens,  and 
"  Uncle  Tom's  Cabin,"  by  Harriet  Beecher  Stowe, 
are  among  the  illustrated  books  of  Mr.  Guild. 
In  bindings,  Riviere,  Zaehnsdorf,  Tout,  Macdonald, 

144 


Matthews,    and   other   noted   artisans   are    repre- 
sented. 

We  follow  with  another  eminent  collection  on  the 
drama,  the  owner  of  which,  Hon.  W.  B.  Maclay 
of  New- York,  died  since  the  following  facts  were 
obtained  from  his  library.  He  had  been  an  active 
collector  and  illustrator  for  many  years.  One  of 
his  finest  and  most  prized  works  was  probably  a 
large-paper  copy  of  Doran's  "Annals  of  the  Eng- 
lish Stage."  Here  were  also  fine  examples  of 
Ireland's  "  Records  of  the  New-York  Stage " ; 
Fitzgerald's  "  Life  of  Garrick  "  ;  "  The  Kembles  "  ; 
Donne's  "  Essays  on  the  Drama  "  ;  "  Life  of  Hol- 
land" ;  "  Life  of  John  Howard  Payne"  ;  "  Old  New- 
York";  "Evenings  with  the  Sacred  Poets"; 
Forster's  "  Life  of  Dickens,"  six  volumes  ;  "Life  of 
Webster";  Lamb's  "Essays,"  two  volumes,  eighty- 
one  illustrations;  Thackeray's  "Four  Georges"  and 
"English  Humorists";  "Life  and  Letters  of  Fitz- 
Greene  Halleck,"  large  paper,  inserted  title,  ex- 
tended  to  two  volumes  by  one  hundred  and  eighty- 
one  views  and  portraits,  besides  autographs  of  the 
authors,  James  Grant  Wilson,  Maria  Halleck,  a 
sister  of  the  poet,  J.  Fenimore  Cooper,  George 
Hall,  Samuel  L.  Mitchell,  James  Lawson,  John 
Quincy  Adams,  Jenny  Lind,  Epes  Sargent,  Edward 
Everett,  Rufus  Griswold,  John  S.  Audubon,  and 
many  others. 

145 


Here  was  also  Fanny  Kemble's  "  Record  of  a 
Girlhood,"  extended  from  three  to  six  volumes  by 
the  insertion  of  two  hundred  and  fifty-three  por- 
traits (many  very  scarce  old  theatrical),  one  hun- 
dred views,  fourteen  original  drawings,  twenty-six 
autograph  letters,  among  which  are  Walter  Scott's, 
Thomas  Moore's,  Sir  Thomas  Lawrence's,  the 
Duke  of  Wellington's,  Sully's,  Madame  Vestris's, 
and  others.  We  would,  however,  mention  Samuel 
Rogers's  "Table-Talk,"  extended  to  two  volumes, 
two  hundred  and  twelve  illustrations :  these  are 
beautiful  books ;  also  "Shakespeare's  England,"  one 
hundred  and  fifty  prints,  two  volumes,  eighteenmo; 
and  large-paper  edition  of  "Rip  Van  Winkle,"  many 
prints. 

William  S.  Hills,  of  Boston,  has  performed  some 
elegant  work  in  the  illustrating  of  popular  authors, 
a  little  out  of  the  beaten  track  of  illustrators.  His 
bindings  are  of  the  highest  order.  He  has  illus- 
trated Oliver  W.  Holmes's  "  One  Hundred  Days 
in  Europe,"  by  one  hundred  and  fifty-five  illus- 
trations, bound  by  Sanford,  Boston.  Leigh  Hunt's 
"Book  of  the  Sonnet"  he  has  illustrated  by  add- 
ing two  hundred  and  four  prints,  bound  by  Kauff- 
man,  London;  Schlesinger's  "Saunterings  In  and 
About  London,"  one  hundred  and  seventy-five 
illustrations,  bound  by  Tout,  London;  "Table- 
Talk  "  of  Samuel  Rogers,  two  hundred  and  thirty- 

146 


eight  illustrations,  bound  by  Stikeman,  New- 
York;  J.  J.  Fields's  "Yesterdays  with  Authors," 
two  hundred  ilhistrations,  bound  by  Bradstreet ; 
Byron's  "  Poetical  Works,"  three  hundred  and 
sixty- two  illustrations,  bound  by  Riviere  and 
Son,  London ;  "  Life  and  Writings  of  Henri 
Fuseli,"  one  hundred  and  nineteen  illustrations, 
bound  by  Tout ;  Mrs.  Ann  Eliza  Bray's  "  Life  of 
Stothard,"  two  hundred  and  seventy-five  illus- 
trations, bound  by  Zaehnsdorf,  London ;  "  The 
Thames  and  Its  Tributaries,"  one  hundred  and 
ninety-six  illustrations,  bound  by  Tout,  London  ; 
William  Makepeace  Thackeray's  "English  Humor- 
ists," seventy-five  illustrations,  bound  by  Riviere 
and  Son;  William  Forsyth's  "  Novels  and  Novelists 
of  the  Eighteenth  Century,"  eighty  illustrations, 
bound  by  Riviere  and  Son  ;  "  Table-Talk,"  by  Leigh 
Hunt,  forty  illustrations,  bound  by  Tout;  John 
H.  Burton's  "The  Book  Hunter,"  one  hundred  and 
seventy-five  illustrations.  All  of  the  above  are 
books  of  the  first  order. 

Henri  Van  Laun's  "  History  of  French  Litera- 
ture," three  hundred  and  thirty-seven  illustrations. 
Hippolyte  Adolphe  Taine's  "  History  of  English 
Literature,"  five  hundred  and  thirty-eight  illustra- 
tions. Mr.  Hill's  inlaying  was  almost  exclusively 
done  by  Lucius  Poole  of  Boston  ;  and  all  of  his 
bindings  were  by  Sanford. 

147 


As  historical  me^norabilia  there  is  nothing  per- 
haps which  appeals  with  so  much  force  to  our  sym- 
pathies as  the  preservation  and  storing  up  material 
of  special  or  general  local  histories.  The  first  pri- 
vately illustrated  books  were  of  this  character.  We 
take  great  interest  in  the  preservation  of  local  his- 
tory by  means  of  illustrating,  although  the  general 
interest  is  not  so  great  as  in  literature,  which  has  no 
geographical  empire. 

Ex-Mayor  William  A.  Courtenay,  of  Charleston, 
S.  C,  has  done  much  in  the  preservation  of  mate- 
rial for  the  future  historian  of  Carolina.  We  shall 
refer  to  a  few  only,  the  interest  in  which  is  more 
national.  The  great  cyclone  of  1885  and  the 
earthquake  of  1886  both  happened  while  he  was 
Executive  of  Charleston,  and  a  chief  actor  in  the 
restoration  of  the  city,  which  was  a  colossal  work, 
as  thousands  of  people  in  the  country  know,  al- 
thouofh  far  removed  from  the  seat  of  these  distur- 
bances.  Mayor  Courtenay  has  collected,  and  put  in 
a  form  for  preservation  and  easy  access,  every 
particle  of  information,  printed  and  written  matter, 
both  historical  and  scientific,  of  this  dual  calamity, 
which  he  has  arranged  in  three  great  volumes.  In 
these  volumes  are  inserted  three  hundred  photo- 
graphic views.  The  data  here  preserved  may  in 
the  event  of  similar  calamities  prove  as  great  value 
to  the  geologist  as  the  historian. 

148 


"  On  the  Centenary  Celebration  of  Yorktown," 
1890,  an  account  describing  the  decoration  of  the 
tombs  of  AmeHa  and  Melanie  de  Grasse,  daughters 
of  Count  de  Grasse  of  Revolutionary  fame,  was 
handsomely  printed;  this  has  been  greatly  en- 
larged by  the  insertion  of  many  rare  portraits  of 
Revolutionary  compatriots  of  de  Grasse,  and  of  the 
participants  in  the  decoration;  also  views  and  au- 
tograph letters,  making  a  large  volume  of  local 
history  of  great  value. 

In  the  eight  volumes  of  the  "City  Year  Books," 
covering  the  period  of  Mayor  Courtenay's  public 
service,  1 880-87,  he  has  gathered  about  twelve  hun- 
dred pages,  folio,  of  historic  narrations,  illustrated 
with  many  rare  maps  and  prints,  forming  a  unique 
and  valuable  collection  of  Carolina,  and  having  an 
interest  extending  to  all  parts  of  the  Union.  One 
volume  embraces  the  transactions  concerning  the 
transmission  of  money  and  provisions  during  the 
Irish  famine  of  1880. 

There  is  also  in  this  collection  some  rare  reprints 
of  early  Carolina  history,  illustrated  with  portraits, 
views,  and  maps.  Mayor  Courtenay  has  a  great 
collection  of  similar  material,  the  extreme  local 
character  of  which  does  not  warrant  special  refer- 
ence here,  but  the  people  of  Charleston  are  deeply 
indebted  to  him  for  the  interest  taken  in  its  pres- 
ervation.    We  like  to  dwell  upon  these  local  his- 

149 


tories  far  removed  from  the  great  centers  of  show 
and  ostentation.  They  exhibit  the  natural  and 
healthy  growth  of  a  custom  which  has  become  a 
permanent  benefit  to  the  historian.  To  bring  to- 
gether and  arrange  these  vast  collections  requires 
to  have  command  of  means,  leisure,  and  culture 
beyond  the  average  man. 

Mayor  Courtenay  has  a  large  library  of  early 
American  history  and  general  literature. 

J.  O.  Wright,  of  New- York,  has  an  interest- 
ing collection  of  privately  illustrated  books,  but 
modestly  prefers  not  giving  details  for  publication. 
He  has  Adolphe  Taine's  "  History  of  English 
Literature,"  containing  eighteen  hundred  prints; 
Nathaniel  Hawthorne's  "English  Note  Book," 
with  three  hundred  portraits  and  views;  "Nell 
Gwyn,"  the  only  book  yet  bound,  containing  one 
hundred  and  fifty  prints ;  Walton  and  Cotton's 
"Angler,"  four  hundred;  Arsene  Houssaye's  "Men 
and  Women  of  the  Eighteenth  Century,"  one  hun- 
dred and  fifty  portraits;  Samuel  Pepys's  "Diary," 
five  hundred  illustrations;  Skelton's  "History  of 
Bristol,"  Mr.  Wright's  native  place,  three  hundred 
and  fifty  illustrations  (the  last  privately  printed,  only 
twenty-five  copies) ;  Dr.  Samuel  Osgood's  "Letters 
from  Abroad,"  one  hundred  and  fifty;  "Book  of 
Death  "(one  of  sixty  copies),  one  hundred  and  sixty 
illustrations.     W^e  cannot  itemize  the  many  other 

150 


works  of  Mr.  Wright ;  the  details  in  our  possession 
are  too  meager. 

We  have  long  been  familiar  with  the  collection 
of  Hon.  George  H.  Purser,  of  New-York,  who  died 
in  1889,  at  the  age  of  nearly  eighty  years.  His 
library  is  still  intact.  For  many  years  he  amused 
himself  mainly  in  the  collection  of  prints  and  in 
extra-illustrating  books,  and  was  a  man  of  wealth, 
lei'sure,  education,  and  a  fine  taste.  He  had  illus- 
trated and  extended  "Nell  Gwynne"  to  folio,  with 
many  valuable  prints  and  mezzotints ;  and  his 
"Lives"  of  General  Scott  and  Governor  Samuel 
J.  Tilden  were  enriched  with  many  rare  autograph 
letters.  His  most  precious  works,  however,  were 
"Westminster  Abbey,"  illustrated  by  six  hundred 
and  thirty-eight  prints,  and  "St.  Paul's  Cathedral," 
the  latter  being  his  last  important  work.  Among 
the  others  illustrated  by  him  were  Walter  F.  Tiffin's 
"  Gossip  about  Portraits,"  extended  to  three  folio 
volumes;  William  A.  Duer's  "Republican  Court, 
three  volumes,  folio;  "Abbeys  and  Castles  of  Eng- 
land and  Wales,"  four  volumes,  folio;  William  A. 
Duer's  "Old  New- York,"  two  volumes,  folio;  "Life 
of  Alexander  Hamilton,"  two  volumes,  octavo;  "Life 
of  Edward  Livingston,"  by  Charles  H.  Hunt,  two 
volumes,  folio;  "Life  of  John  Bannister,"  two  vol- 
umes, folio;  "Life  and  Times  of  Frederick  Rey- 
nolds," three  volumes,  folio.     The  above  are  only 

151 


a  few  of  the  most  important  works  of  Mr.  Purser; 
there  are  more  than  a  hundred  others. 

We  beheve  it  may  be  accepted  as  a  rule  that 
gentlemen  do  not  generally  lavish  expense  upon 
the  life  or  works  of  an  author  unless  to  some  ex- 
tent he  is  a  favorite.  R.  B.  Adam,  of  Buffalo,  New- 
York,  has  privately  illustrated  many  books,  among 
which  is  "  The  Letters  and  Journals  of  Lord 
Byron,"  edited  by  Thomas  Moore,  1830.  This 
work  was  originally  in  two  volumes,  but  is  now  ex- 
tended to  four,  quarto;  also  "Poetical  Works  of 
Byron,"  uniform  with  the  preceding,  1839,  eight 
volumes,  extended  to  fifteen  ;  also  "  Lord  Byron 
and  Some  of  His  Contemporaries,"  by  Leigh  Hunt, 
1828,  one  volume,  extended  to  two,  quarto.  In  all, 
this  set  contains  twenty-one  volumes  and  is  illus- 
trated by  six  hundred  and  fifty  inserted  portraits, 
two  hundred  and  fifty-seven  views  and  other  illus- 
trations of  the  text,  and  five  hundred  and  forty 
views  of  scenery  and  buildings. 

These  volumes  are  a  noble  contribution  to  the 
memory  of  a  genius  whose  unsavory  reputation  at 
home  may  not  have  been  entirely  due  to  inborn 
depravity.  The  tendency  of  all  criticism  of  the 
age  which  stamped  the  character  of  Lord  Byron 
in  England  was  to  follow  easy  and  reckless  methods 
in  the  estimate  of  character.  Carlyle's  criticism  of 
Byron  was  an  effusion  of  prejudice  and  vulgarity. 

152 


Byron  had  a  wilful  and  untractable  disposition 
which  made  him  unpopular;  his  condemnation  fol- 
lowed with  little  or  no  original  investigation,  and 
he  wasted  no  time  with  his  detractors. 

It  seems  to  us  that  the  character  of  Byron  as 
made  up  from  the  English  estimate  is  open  to  crit- 
icism. His  portraits  have  been  placed  before  us 
in  the  darkest  shadows.  It  is  observable  that  all 
Byron's  contemporaries  who  became  intimate  with 
him,  with  his  inner  life,  were  his  friends,  admirers, 
and  defenders.  Count  D'Orsay  believed  him  to 
be  the  most  noble  and  honorable  of  men. 

We  know  that  Byron  had  a  tainted  ancestry, 
that  he  entered  upon  life  without  moral  guidance 
or  support  of  any  kind,  with  no  example  or  tradi- 
tion in  his  own  family  but  that  of  dissipation  and 
debauchery;  he  had  no  friend  to  warn  him  against 
the  consequences  of  vice  or  to  tempt  him  to  virtue; 
and  we  also  know  that  a  corrupt  and  venal  an- 
cestry has  an  effect  upon  immediate  posterity  in 
imputation,  if  not  in  defilement.  This  seems  to  have 
been  the  basis  upon  which  Byron's  compeers  esti- 
mated his  character.  He  keenly  felt  the  injustice 
of  this  valuation,  but  knew  there  was  no  appellate 
tribunal.  Add  to  all  this  youth,  pride,  conscious- 
ness of  great  personal  beauty,  also  a  great  physi- 
cal deformity,  of  which  his  enemies  neglected  no 
opportunity  to  twit  him,  and  charity  blends  with 

153 


our  condemnation  of  his  transgressions.  From 
our  point  of  view  Lord  Byron  exhibited  more  than 
an  average  of  the  noble  traits.  "  With  all  his  way- 
wardness," says  Stanhope,  "he  always  returned  to 
nobler  fixed  principles,"  and  there  is  some  external 
and  extrinsic  evidence  that  he  was  also  greatly 
sinned  against.     Samuel  Rogers  says  : 

"  Thy  heart  methinks 
Was  generous,  noble." 

While  we  find  ungoverned  passion  and  extrava- 
gant emotion,  we  find  also  sublime  thought  and 
noble  aspirations.  The  annals  of  English  litera- 
ture do  not  furnish  a  meaner  challenge  than  the 
following  from  Southey.  "  I  have  fastened  his 
name,"  said  he,  "upon  the  gibbet  for  reproach  and 
ignominy.     Take  it  down  who  can  ! " 

We  believe  that  every  subsequent  age  will  sit  in 
judgment  upon  the  character  and  genius  of  Byron, 
and  it  is  by  no  means  certain  that  a  future  genera- 
tion may  not  reverse  the  verdict  of  his  compeers. 
And  yet  the  poetical  homage  rendered  to  him  by 
Samuel  Rogers  and  E.  Bulwer  Lytton  in  England, 
by  Alphonse  de  Lamartine  and  Victor  Hugo  in 
France,  by  Johann  W.  Goethe,  Joseph  C.  Zedlitz, 
and  Wilhelm  Mliller  in  Germany,  is  well  known 
and  is  all  that  could  be  desired  by  his  friends. 
Campbell  says,  "  Byron's  poetry  made  him  great; 

154 


it  was  greater  than  himself."^     We  believe,  after 
Shakspeare,  he  is  the  best-known  English  poet. 

But  it  is  with  the  contemporaneous  history  only 
that  the  illustrator  has  to  deal.  We  have  no  doubt 
Byron  was  a  transgressor,  although  possessing 
every  gift  that  imagination  could  desire,  except  the 
gift  of  knowing  how  to  use  them ;   and  hence  his 

"  Iliad  of  Woes." 

The  next  work  taken  up  in  Mr.  Adam's  collec- 
tion is  the  "  Robert  Burns  Calendar,  a  Manual 
of  Burnsiana,"  Kilmarnock  edition  of  1874.  This 
work  is  in  one  volume,  quarto,  illustrated  by  eighty- 
eight  portraits  and  views  inserted  with  autograph 
letters  of  Burns,  Scott,  Cunningham,  and  many 
others. 

Irving's  "Life  of  Washington,"  five  volumes,  ex- 
tended to  ten  by  the  addition  of  two  hundred  por- 
traits, eighty-six  views,  and  illustrative  scenery  ; 
also  "Knickerbocker's  History  of  New- York, "1809, 
two  volumes,  extended  to  three,  forty-four  inserted 
engravings  by  Darley,  George  Cruikshank,  Leslie, 
Walston,  and  others,  besides  eighteen  pen-and-ink 
sketches  by  B.  Lander;  "The  Book  Lover's  Enchi- 
ridion," one  volume,  extended  to  three,  two  hundred 
and  ninety  portraits  inserted;   Macaulay's  "  Criti- 

1  We  have  in  our  possession  two  numbers  of  a  serial,  the  only  two,  we 
believe,  issued  —  one  from  Broadway  and  the  other  from  Ann  street,  New- 
York —  entitled  "The  Inedited  Works  of  Lord  Byron,"  etc.,  by  his  son, 
Major  George  Gordon  Byron,  1849.  They  are  two  interesting  pamphlets,  so 
far  as  they  go.     We  are  not  informed  as  to  their  rarity. 


cal  and  Historical  Essays,"  three  volumes,  with 
two  hundred  and  seventy-nine  portraits  inserted ; 
"Life  and  Times  of  Oliver  Goldsmith," — "The 
inspired  idiot,"  said  Walpole, — with  eighty  portraits 
inserted;  "  Yesterdays  with  Authors,"  seventy-four 
portraits;  "  The  Complete  Angler,"  Major  edition, 
1883,  one  volume,  extended  to  two  by  the  insertion 
of  one  hundred  and  twenty-six  portraits.  Frangois 
William  Guizot's  "  History  of  France,"  translated 
by  Black ;  also  Louis  Henri  Martin's  continuation 
of  "French  History,"  ten  volumes,  extended  to 
twenty  large  octavo,  three  hundred  and  thirteen 
portraits  inserted,  and  two  hundred  and  thirty-seven 
views,  scenery,  buildings,  and  battle-fields ;  also 
"  Life  of  Napoleon,"  two  volumes,  extended  to  four, 
seventy-four  portraits,  fifty-seven  views. 

"Iconographia  Scotica,"  London,  1797,  one  hun- 
dred and  sixteen  portraits,  in  three  parts ;  "  The 
Monarchs  and  Their  Families  from  David  I.,  1 124, 
to  James  VI.,  1567,"  forty-eight  portraits;  "The 
Nobility  from  John,  Earl  of  Buchan,  1408,  to  John, 
Lord  Belhaven,  1679,"  forty-two  portraits;  "The 
Clergy  and  Commoners  from  William  Elphin- 
stone.  Bishop  of  Aberdeen,  1484,  to  Colin  Mac- 
laurin,  mathematician,  1746,"  twenty-six  portraits. 
Mr.  Adam's  library  contains  a  great  many  valuable 
and  rare  volumes  which  do  not  come  within  the 
limits  of  this  monograph. 

156 


Mr.  S.  V.  Lillie,  of  Brooklyn,  is  still  engaged  on 
his  first  work ;  he  pleads  nonage  in  the  art,  but  he 
has  the  persistency  of  an  adult.  He  is  illustrating 
J.  R.  Green's  "  History  of  the  English  People,"  the 
four-volume  edition,  and  has  already  secured  eight 
hundred  prints,  extending  the  work  to  eight  very 
pretty  and  well-illustrated  volumes.  Mr.  Lillie 
generally  does  his  own  inlaying;  Lawrence  has 
done  some  for  him.  He  expresses  satisfaction  with 
the  yield  in  the  pleasure  it  has  afforded. 


157 


CHAPTER   IV. 

Ferdinand  J.  Dreer.  A.  F.  Hervey.  Thomas 
J.  McKee.  Joseph  Norton  Ireland.  Douglas 
Taylor.  Augustus  Toedteberg.  William  B. 
Dick.  A.  Oakey  Hall.  J.  W.  Poinier.  R.  H.  H. 
Steele.  Stephen  H.  Price.  Peter  Gilsey.  W. 
H.  Kemp.  T.  W.  Lawrence.  Ogden  Goelet. 
Dudley  Tenney.  Thomas  H.  Morrell.  Hamil- 
ton Cole.    Thomas  A.  Emmet.    Samuel  P.  Avery. 


BOTHING  is  so  incomprehensible  to  the 
f  uninitiated  as  the  enthusiasm  manifested 
I  by  the  persistent  book-  and  print-col- 
lector in  a  pursuit  which,  to  them,  presents  no 
commensurate  returns  for  the  labor  and  expense 
bestowed  upon  it.  The  many  doubtful  compliments 
heretofore  paid  to  bookmen  by  the  public  press,  the 
sometimes  hidden  satire  and  not  infrequently  unaf- 

158 


fected  ridicule  aimed  at  the  inordinate  passion  for 
books,  come  from  an  ignorance  of  the  subject.  Lit- 
erary knowledge  in  this  country  is  pretty  generally 
diffused  ;  knowledge  of  books  has  a  much  narrower 
range.  No  man,  not  himself  a  bookman,  ever 
gains  full  access  to  the  heart  and  library  of  a  genu- 
ine bibliophile.  Book-lovers  are  uncommunicative 
on  the  subject  of  their  passion  to  another  not  of  the 
craft.  This  kindred  fellowship,  to  a  certain  extent, 
is  true  in  most  other  callings ;  but  in  none  is  it  so 
emphatically  marked  as  in  the  world  of  book-collec- 
tors. Even  John  Hill  Burton,  author  of  "  The  Book 
Hunter,"  the  name  of  which  of  itself  is  a  term  of  re- 
proach, was  but  a  neophyte,  and  he  knew  nothing 
of  the  true  inwardness  of  this  ennobling  passion.  He 
knew  that  it  represented  a  higher  strata  of  culture, 
for  which  he  had  aspirations,  but  to  which  he  never 
attained.  This  book,  "The  Book  Hunter,"  did  not 
commend  or  advance  the  dignity  of  that  homage 
which  men  of  culture  pay  to  books,  but  rather  de- 
graded it.  His  persistent  employment  of  the  term 
mania  in  a  sense  which  implied  dementia  and  a 
necessary  vigilance  of  friends  or  a  committee  of 
the  person  and  estate,  inaugurated  more  reserved 
methods  in  the  search  and  accumulation  of  literary 
matter  than  had  ever  formerly  been  practised, 
and    resulted    in    no    orood   to  either  collector  or 

o 

dealer. 

159 


Many  veteran  collectors,  to  whom  the  love  of 
books,  prints,  and  the  art  of  privately  illustrating 
have  furnished  the  keenest  pleasure  of  their  lives, 
and  who  are  examples  of  the  natural  reserve  and 
diffidence  which  belong  to  bookmen,  assure  me 
that  they  have  felt  much  humiliated  by  the  treat- 
ment of  writers  generally  upon  the  subject  of  books 
and  bookish  men,  and  their  reserve  has  been  much 
heightened  through  fear  of  provoking  unpleasant 
criticism.  We  have  never  seen  a  generic  sketch 
or  drawing  of  a  book-  or  print-collector  which  was 
not  in  some  particular  caricatured. 

The  foregoing  thoughts  were  the  result  of  a  re- 
view of  the  material  which  is  to  compose  this  chap- 
ter, and  which  is  principally  the  work  of  veterans 
of  the  fraternity  who  well  know  the  truths  hinted 
at  on  the  foregoing  pages. 

Mr.  Ferdinand  J.  Dreer,  of  Philadelphia,  is  an 
old  collector  of  literature,  and  he  has  also  privately 
illustrated  many  books,  most  of  which  are  specially 
noteworthy  here,  as  they  are  out  of  the  usual  line 
of  illustrated  books,  their  tendency  being  the  local 
institutions  of  Philadelphia;  and  in  the  forty  years 
in  which  he  has  been  engaged  in  the  worthy  pas- 
time, Mr.  Dreer  has  placed  his  native  city  under  a 
debt  which  will  probably  never  be  canceled.  Phila- 
delphians  were  among  the  earliest  to  engage  in  the 
art  of  extra-illustrating  books ;  there  were  a  number 

1 60 


of  them  contemporaneous  with  John  Allan,  of  New- 
York,  who  was  considered  about  the  earliest  in  this 
country. 

Among  the  many  illustrated  books  of  Mr.  Dreer 
is  a  "Memorial  of  the  Union  Club  of  Philadelphia, 
1871,"  into  which  he  has  inserted  over  one  hundred 
and  fifty  prints,  photographs,  water-color  sketches, 
programs,  and  over  one  hundred  autograph  letters. 
Also  "Recollections  of  the  Table-Talk  of  Samuel 
Rogers,"  to  which  is  added  "Porsoniana,"  with  one 
hundred  and  eight  rare  engravings  and  an  auto- 
graph letter  of  the  author.  This  was  Mr.  Dreer's 
first  effort  at  inlaying ;  it  was  over  thirty  years  ago 
(1861).  Another  worthy  book  is  the  "  Memorial  of 
John  Allan,"  privately  printed  for  the  Bradford 
Club,  1864.  It  is  illustrated  by  eighty-five  prints, 
autographs,  and  water-color  drawings,  bound  in 
orange -colored  morocco.  This  is  a  beautiful  book; 
much  interest  was  taken  in  it  in  consequence  of 
association. 

"Then  and  Now,"  a  discourse  in  Christ's  Church 
on  the  occasion  of  the  removal  of  the  remains  of 
Bishop  White  from  the  vault  of  that  church,  by  Wil- 
liam Bacon,  D.  D.,  illustrated  by  one  hundred  and 
eight  prints,  water-colors,  sketches,  and  many  rare 
autographs. 

Mr.  Dreer  has  also  illustrated  "Memoirs  of  John 
Fanning  Watson,  Annalist  of  Philadelphia  and  New- 

161 


York";  also  "  Memoir  of  Lieutenant-Colonel  John 
T.  Greble,  of  the  U.  S.  Army,"  by  Benson  J.  Lossing, 
privately  printed;  also  "History  of  Christ's  Church, 
Philadelphia,"  from  its  foundation,  a.  d.  1695  to 
A.  D.  1841  ;  and  of  "Saint  Peter's  and  Saint  James's 
Churches,"  illustrated  by  over  one  hundred  and 
sixty  prints  (mostly  portraits),  original  water-color 
sketches,  and  one  hundred  autographs,  extended  to 
quarto.     All  excessively  interesting  books. 

"  English  Bards  and  Scotch  Reviewers,"  New- 
York,  1865,  This  work  is  illustrated  by  two  hun- 
dred and  fifty-eight  prints,  many  of  them  very  rare, 
also  many  rare  and  valuable  autographs;  royal 
octavo.  Also  "A  History  of  the  Bank  of  North 
America,"  the  first  bank  chartered  in  the  United 
States.  This  is  an  extremely  interesting  book,  and 
is  rendered  tenfold  more  so  by  the  addition  of  the 
illustrations  (of  which  it  has  over  one  hundred  and 
fifty),  portraits,  and  autograph  letters  of  those  who 
have  been  officially  connected  with  the  bank  since 
its  foundation,  checks  of  the  bank,  and  specimens 
of  the  currency  since  its  organization  ;  quarto,  full 
crushed  levant,  by  Bradstreet.  ' '  Memoirs  of  Nich- 
olas Biddle."  This  volume  is  illustrated  by  over 
two  hundred  prints,  autographs,  currency  of  the 
Bank  of  the  United  States,  drafts,  bills  of  exchange, 
etc.,  etc.  Nearly  all  of  the  letters  are  either  from 
or  addressed  to  Nicholas  Biddle  while  president  of 

162 


the  Bank  of  the  United  States.  This  book  is  also 
a  history  of  the  bank. 

"American  Engravers  and  their  Works,"  by 
WilHam  S.  Baker,  Philadelphia,  1875.  One  hun- 
dred and  fifty  prints,  illustrative  of  the  engravers' 
art.  This  little  book  gives  an  account  of  over  ninety 
American  engravers,  commencing  with  Charles  W. 
Peale,  born  1 741,  and  ending  with  William  Marshall, 
born  1836.  It  describes  fifty-three  engraved  por- 
traits of  Washington  and  the  artists  who  engraved 
them  ;  also  sixteen  of  Franklin,  fifteen  of  Jefferson, 
many  of  John  Adams,  Robert  Fulton,  and  others. 
It  is  a  useful  little  book  to  the  collector  of  American 
portraits  and  early  American  views. 

"The  Congress  of  I774,"by  Henry  Annitt  Brown, 
"an  oration  delivered  in  Carpenter's  Hall,  Phila- 
delphia, on  the  one-hundredth  anniversary  of 
Congress."  One  hundred  and  forty-eight  prints 
(mostly  portraits),  with  many  autographs,  have 
been  added. -^ 

A.  F.  Hervey,  of  Boston,  is  a  collector  of  books 
of  over  forty  years'  standing.  He  has  accumu- 
lated  a  library  of  six  thousand  volumes  of  gen- 

1  The  collection  of  autographs  which  Mr.  Dreer  has  been  over  forty  years 
accumulating  has  been  presented  to  the  Pennsylvania  Historical  Society. 
They  are  to  be  kept  in  a  fire-proof  room  in  the  society  buildings.  A  cata- 
logue of  this  wonderful  collection  is  being  made;  it  will  be  in  two  volumes, 
quarto,  of  about  five  hundred  pages  each.  Of  this  sumptuous  work  only  two 
hundred  copies  will  be  printed  for  j^rivate  distribution.  The  value  of  this 
collection  is  said  to  be  about  $150,000. 

There  is  said  to  be  a  letter  or  other  manuscript  of  nearly  every  poet  and  au- 

163 


eral  literature,  and  has  done  some  private  illus- 
trating. Among  his  illustrated  books  is  the  "  Life 
of  Henry  W.  Longfellow,"  in  three  volumes,  with 
three  hundred  and  eleven  prints,  portraits,  and 
views,  bound  in  blue  crushed  levant,  elaborately 
tooled  by  Macdonald  and  Sons,  Boston.  "Although 
our  hemisphere,"  says  Cardinal  Wiseman,  "cannot 
claim  the  honor  of  having  brought  him  forth,  still 
he  belongs  to  us,  and  I  desire  to  pay  a  tribute  to 
the  author  of  '  Evangeline.'  " 

Also  the  following  "  Autobiography  of  Anna  E. 
Bray,"  two  volumes,  illustrated  by  one  hundred  and 
twenty-five  prints,  portraits,  and  views,  many  of 
which  are  proofs,  bound  by  Sanford,  in  dark  olive 
crushed  levant,  Grolier  pattern,  silk  linings. 

"  Diary  of  Henry  Crabb  Robinson,"  three  vol- 
umes, extended  to  six  by  the  insertion  of  three 
hundred  and  fifty  prints,  bound  by  Macdonald,  full 
crimson  calf.  Mr.  Hervey  has  devoted  a  great  deal 
of  time  and  money  in  the  illustrations  of  this  book. 

"Memoirs  of  Caroline  Fox,"  illustrated  by  three 
hundred  prints,  inlaid  by  Hathaway,  Poole,  and  Dr. 
Pratt,  bound  by  Hathaway;  also  SirFulke  Greville's 

thor  who  wrote  in  the  English  language.  There  are  about  fifteen  by  William 
Penn,  twenty-five  by  Washington,  all  the  signers  of  the  Declaration  of  Inde- 
pendence (except  two),  all  the  generals  of  the  Revolutionary  war,  governors 
of  all  the  States,  hundreds  of  letters  of  famous  actors,  actresses,  singers,  and 
artists.  They  are  arranged  under  heads  of  clergymen,  philanthropists,  phi- 
losophers, physicians,  alchemists,  chemists,  astronomers,  mathematicians, 
geologists,  archaeologists,  artists,  poets,  inventors,  authors,  actors,  lawyers, 
etc.,  etc. 

164 


"  Memoirs,"  eight  volumes,  with  four  hundred  and 
twenty-five  prints.  "  Retrospects  of  a  Long  Life," 
by  S.  C.  Hale,  illustrated  by  one  hundred  and 
thirty-five  prints  ;  "Autobiography  of  Mrs.  Esther 
L.  Piozzi,"  extended  to  two  volumes.  Dr.  John- 
son's opinion  of  Mrs.  Piozzi  was,  "If  she  was  not 
the  wisest  she  was  undoubtedly  the  wittiest  woman 
in  the  world."  Boswell  has  enshrined  Mrs.  Piozzi 
in  the  immortal  circle  of  wits  and  poets  who  will  live 
forever  in  his  work.  "Life  of  Reverend  George 
Crabbe";   "Life  of  Thomas  Chatterton": 

"The  marvelous  boy, 
The  sleepless  soul  that  perished  in  his  pride," 

by  John  Dix ;  "Life  of  Lord  Byron,"  extended  to 
two  volumes,  one  hundred  prints  and  autograph  let- 
ter of  Byron — "the  proud  imperious  boy";  "Lon- 
don and  Its  Celebrities,"  extended  from  two  to  four 
volumes;  "Life  of  George  Bryan  Brummel,"  known 
as  "Beau  Brummel,"  bound  in  full  crimson  levant; 
also  "Monograph  on  Privately  Illustrated  Books" 
(first  edition),  one  hundred  and  seventy-five  inserted 
prints,  bound  by  Macdonald  and  Sons  in  crushed 
olive  levant,  tooled  around  outside  and  in,  with 
paneled  silk  linings. 

There  is  no  subject  to  trace  the  progress  of 
which  affords  greater  pleasure  than  that  of  the 
drama  and  dramatic  literature.  From  its  first  ap- 
pearance upon  the  Attic  stage,  from  the  greatest 

165 


antiquity/  it  has  descended  on  the  stream  of  time 
with  varying  popularity  and  success,  but  always 
with  important  results  to  society.  "  The  early 
drama,"  says  Stedman,  "  was  the  mouthpiece  of  a 
passionate  and  adventurous  era.  The  stage  bore 
to  the  period  the  relations  of  the  modern  novel  and 
newspaper  of  our  own,  not  only  holding  the  mirror 
up  to  nature,  but  showing  the  very  age  and  body 
of  the  time."  ^  Its  effect  upon  the  moral  status  of 
society  has  been  in  proportion  to  its  encourage- 
ment by  the  enlightened  few  and  its  consequent 
moral  elevation.  The  great  moral  work  of  the 
drama  lies  in  the  fact  that  few  persons  are  disposed 
to  undergo  the  task  of  self  examination  and  con- 
demnation ;  hence,  they  turn  to  the  drama  to 
perform  for  them  an  anatomy  of  their  moral  lives 
which  they  have  not  the  courage  to  do  for  them- 
selves. We  can  discern  and  rebuke  the  perturbing 
acts  of  human  life  when  presented  in  the  fiction  of 
the  play,  a  kind  of  reflex  moral  didactics,  which  re- 

1  Dramatic  representations  in  England  appear  to  have  been  founded  on 
what  were  termed  "  Miracle  Plays,"  the  first  of  which  in  Latin,  by  Hilarius, 
an  English  monk,  was  written  in  the  beginning  of  the  twelfth  century. 
These  "  Miracle  Plays  "  were  legendary  representations  of  saints  and  mar- 
tyrs founded  on  the  Old  and  New  Testament  histories.  Their  literary  impor- 
tance was  never  very  great,  although  traces  of  similar  exhibitions  are 
discoverable  in  almost  every  part  of  Europe.  A  lingering  survival  still  exists 
at  Ober-Ammergau.  All  of  which  may  probably  be  traced  to  the  Bacchic  or 
Eleusinian  Mysteries. 

2  We  have  no  doubt  that  had  the  greatest  of  all  poems,  "  Paradise  Lost," 
been  cast  in  a  dramatic  mold  as  first  conceived  by  the  author,  and  as  the 
four  earliest  drafts  still  extant  indicate,  instead  of  an  epic,  it  would  have  given 
a  brighter  immortality  to  both  author  and  poem. 

1 66 


lieve  us  from  direct  condemnation.  Consequently 
the  stage  possesses  a  great  conservative  advantage 
over  the  aggressiveness  of  the  pulpit  as  a  moral 
instructor.  It  presents  the  living  module,  and  is 
in  fact  an  extra-illustrated  book  of  phases  of  human 
life  with  moving,  living,  thinking  pictures,  and  its 
pages  are  turned  over  to  represent  the  events  of 
an  ordinarily  long  life  foreshortened  into  a  few 
hours.  Nothins:  is  calculated  to  afford  more  solid 
instruction  or  more  rational  amusement  than  a  well- 
constructed  drama,  and  if  it  be  well  represented  or 
illustrated  with  proper  illustrations,  it  is  tenfold 
more  effective,  "a  teaching  by  precept  with  ex- 
amples before  us."  Old  Michel  Montaigne  confesses 
in  his  essays  that  he  performed  a  like  criticism 
upon  his  own  life  by  constantly  reading  Plutarch's 
"  Lives."  Private  illustrators  of  books  have  taken 
more  naturally  to  the  drama  than  any  other  subject. 
Amone  those  who  have  enlarofed  our  views  on  the 
literature  of  the  drama  by  illustrating  it  in  books, 
one  of  the  most  thorough  and  painstaking  is 
Thomas  J.  McKee  of  New-York,  and  the  amount 
of  material  which  he  has  amassed  for  the  use  of  the 
future  historian  is  valuable  beyond  all  estimate. 
His  great  accumulation  is  the  principal  source  from 
which  material  has  been  drawn  to  illustrate  oper- 
atic and  dramatic  articles  which  have  from  time 
to  time  appeared  in  our  monthly  magazines. 

167 


Mr.  McKee  began  early  as  an  illustrator.  It 
was  his  custom  to  purchase  all  rarities  relating  to 
the  drama,  as  autographs,  prints,  portraits,  and 
playbills,  as  they  came  in  his  way ;  in  fact  he  put 
himself  in  the  way  to  find  them.  In  this  manner 
he  had  accumulated  an  almost  inexhaustible  sup- 
ply for  future  use  at  very  moderate  rates. 

In  glancing  over  the  illustrated  biographies  of 
actors  and  dramatists  as  they  are  spread  before  us 
in  the  library  of  Mr.  McKee,  we  note  Thomas  Bet- 
terton,  Joe  Haynes,  James  Quin,  Mrs.  Anne  Cat- 
ley,  Mr.  G.  A.  Bellamy,  Mrs.  Sarah  Siddons,  Mrs. 
Dorothea  Jordan,  Mrs.  Elizabeth  Inchbald,  Miss 
Eliza  Farren,  Countess  of  Derby,  Miss  O'Neill, 
Mr.  John  Palmer,  "the  only  man  of  his  day,"  says 
Boaden,  "who  could  walk  the  stage  and  occupy 
it,"  Mr.  J.  Henderson,  who  was  noted  for  his  bad 
stage  manners,  Mr.  William  Parsons,  Madame 
Marie  Rose  Vestris,  celebrated  in  tragedy,  Mr. 
Charles  Mathews,  Mr.  George  F.  Cooke,  the  best 
Richard  since  the  days  of  Garrick,  Mr.  John  J. 
Kemble,  Mr.  R.  W.  Alliston,  Mr.  Edwin  Forrest, 
Mr.  W.  C.  Macready,  Mr.  James  Wallack,  and 
Mr.  John  Cooper.  The  biographies,  memoirs, 
and  reminiscences  included  in  this  list  have  been 
greatly  extended,  and  are  replete  with  rare  por- 
traits, autographs,  playbills,  and  prints  of  stage 
views  and  scenery. 

1 68 


In  his  illustration  of  Joseph  N.  Ireland's  "Rec- 
ords of  the  New- York  Stage"  Mr.  McKee  has  out- 
stripped all  competitors.  He  has  extended  this 
work  to  twenty  folio  volumes  by  the  insertion  of  over 
five  thousand  prints,  portraits,  portraits  in  costume, 
several  hundred  original  drawings  by  Hosier, 
Graef,  and  Toedteberg,  and  hundreds  of  playbills. 
This  is  truly  a  cyclopean  work;  we  shall  shrink 
from  any  effort  to  convey  an  adequate  notion  of  it 
by  means  of  language.  While  we  are  exploring 
the  depths  of  these  dramatic  treasures,  our  attention 
is  called  to  a  companion  work,  Dr.  John  Doran's 
"Annals  of  the  English  Stage,"  extended  to  ten 
folio  volumes. 

And  then  that  inimitable  impersonator  of  Shy- 
lock,  Othello,  and  Richard,  Edmund  Kean,  is  mem- 
orized in  two  hundred  portraits  and  about  one 
hundred  and  eighty  playbills  in  four  folio  volumes, 
also  portraits  of  his  grandfather,  George  Saville 
Carey,  his  mother,  Nancy  Carey,  his  uncle  and 
sometimes  reputed  father,  Moses  Kean.  Many  au- 
tograph letters  of  Kean  and  a  holograph  poem  are 
inserted.  When  it  is  considered  that  playbills  such 
as  are  contained  in  this  work  sell  in  London  at 
from  $5  to  $i6o  each,  some  notion  of  the  expense 
of  this  method  for  preserving  the  memory  of  a 
great  actor  may  be  obtained.  Kean  was  the  most 
susceptible  to  applause  of  any  man  who  ever  ap- 
12  169 


peared  on  the  stage.  He  became  so  discouraged 
on  one  occasion  that  he  declared  he  would  "never 
go  on  the  stage  again  if  the  pit  kept  its  hands  in 
its  pockets.  Such  an  audience  would  extinguish 
y^tna,"  said  he. 

The  most  important  of  the  dramatic  biographies, 
however,  and  upon  which  Mr.  McKee  has  bestowed 
the  most  care  and  enthusiasm,  are  Downe's  "Life 
of  Joseph  Grimaldi,"  extended  to  two  quarto  vol- 
umes by  the  insertion  of  several  hundred  portraits, 
prints,  autographs,  and  playbills  relating  to  the 
history  of  this  celebrated  clown ;  J.  T.  Kirkman's 
"Life  of  Charles  Macklin,"  extended  to  five  vol- 
umes octavo,  and  containing  upward  of  two  hundred 
portraits,  playbills,  and  autographs ;  and  Thomas 
Davies's  "  Life  of  David  Garrick,"  the  great  re- 
former of  the  Enoflish  drama  and  restorer  of  Shak- 
speare  to  the  stage,  in  four  folio  volumes.  These 
volumes  contain  perhaps  the  largest  and  finest  col- 
lection of  material  relating  to  Garrick  in  America ; 
all  the  rare  McArdell  mezzotints  after  Zoffany, 
Reynolds,  Gainsborough,  and  rare  prints  of  him  in 
all  the  characters  in  which  he  ever  appeared  and 
from  the  earliest  to  the  latest  engraved,  some  of 
which  are  apparently  unique  ;  portraits  of  his  father 
and  wife  (as  Mademoiselle  Violetta),  which  are  also 
unique ;  numerous  autographs,  including  several 
of  Garrick  himself  and  of  all  his  near  relatives,  and 

170 


with  hundreds  of  playbills  from  his  early  appearance 
to  his  final  leave-taking  of  the  stage  in  1776. 

Here  are  also  Dr.  John  Francis's  "Old  New- 
York,"  in  four  volumes,  large  paper,  profusely  illus- 
trated; and  Winthrop  Sargent's  "Life  of  Major 
Andre,"  extended  to  four  volumes,  containing,  be- 
sides many  other  illustrations,  a  manuscript  pro- 
logue in  Andre's  handwriting,  and  which  was  spoken 
by  him  at  the  John  Street  Theater  just  before  his 
capture,  and  an  engraved  full-length  portrait  of  him 
as  Adjutant-General  —  a  print  quite  unknown  to 
American  collectors.  Here  is  also  Izaak  Walton's 
"  Complete  Angler,"  Pickering  edition  of  1836, 
swollen  to  six  thick  volumes. 

From  the  above  it  will  be  seen  that  Mr.  McKee 
has  not  confined  his  labors  exclusively  to  the  drama. 
He  has  also  copies  of  the  "  Lives  "  of  Byron,  Burns, 
Macaulay,  Stothard,  Cruikshank,  and  many  others. 

But  of  all  the  books  in  this  collection,  prodigality  is 
most  conspicuous  in  a  large-paper  copy  (only  fifteen 
printed)  of  Gabriel  Harrison's   "  Life  and  Works^ 

1  There  was  a  work  called  "  The .  Thespian  Mirror,"  written  by  John 
Howard  Payne  before  he  was  fourteen  years  old,  and  published  by  South- 
wick  and  Hardcastle,  No.  2  Wall  Street,  in  1806.  This  work,  I  believe,  has 
become  very  scarce.  I  have  never  seen  a  copy.  Mr.  Gabriel  Harrison, 
however,  had  access  to  one,  from  which  he  quoted  in  his  "Life  of  Payne." 
The  only  perfect  copy  known  to  exist  was  sold  at  the  Philip  Hine  sale  in 
1875.     This  contained  the  portrait  of  T.  A.  Cooper,  tragedian.* 

*  Since  which  Mr.  McKee  has  obtained  several  numbers  of  "The  Thespian  Mirror,"  and 
they  are  included  among  the  illustrations  of  this  work.  The  "  Mirror"  was  a  weekly  dra- 
matic publication.  Payne  was  also  editor  of  the  "Pastime,"  a  weekly  devoted  entirely  to 
literature,  and  published  while  he  was  in  college. 


of  John  Howard  Payne,"  extended  to  twelve  vol- 
umes by  the  insertion  of  over  twenty-five  hun- 
dred prints,  portraits,  original  drawings  and  water- 
colors,  autograph  letters,  and  playbills,  among 
which  is  a  playbill  of  Payne's  first  appearance  in 
London,  June  12,  18 13.  Neither  money  nor  labor 
has  been  spared  to  make  this  the  most  beautiful 
and  complete  memorial  of  the  author  of  "  Home, 
Sweet  Home"  in  existence.  Here  are  also  all  the 
known  engraved  portraits  of  Payne  from  boyhood 
to  old  age,  besides  several  drawings  of  portraits 
which  have  never  heretofore  been  reproduced. 
Letters,  autograph  poems,  extracts  from  his  diary 
and  journal  extending  over  a  period  of  more  than 
forty  years,  and  down  to  his  death  at  Tunis  in 
1852,  are  here  preserved. 

An  extract  from  his  journal  shows  that  he  was 
manager  of  Sadlers  Wells  Theater  in  1820.  Dur- 
ing this  engagement  he  contracted  debts,  for  the 
non-payment  of  which  he  was  thrown  into  prison. 
The  journal  relates  that,  having  had  a  new  play  ac- 
cepted at  the  Covent  Garden  Theater,  he  induced 
his  kind-hearted  jailer  to  accompany  him  surrepti- 
tiously on  his  parole  d' honneur  to  the  gallery  of 
the  theater,  to  witness  his  drama,  "Therese,  the 
Orphan  of  Geneva."  The  play  was  a  success,  and 
on  its  first  production  realized  enough  to  satisfy  all 
his  creditors. 

172 


The  work  contains  drawings  of  the  American 
Consulate  at  Tunis,  the  room  in  which  Payne  lived 
and  died,  his  tomb,  etc. ;  these  were  executed  by  a 
special  commission  for  Mr.  McKee.^  And  now 
comes  a  "  Memorial  of  Dr.  Alexander  Anderson," 
the  first  American  wood-engraver,  by  Benson  J. 
Lossing,  Esq.  This  interesting  book  has  been  ex- 
tended to  ten  octavo  volumes  by  the  most  wonderful 
collection  of  prints,  portraits,  paintings,  drawings, 
and  autograph  letters  that  were  ever  brought  to- 
gether in  one  book.  It  not  alone  illustrates  the  life 
and  works  of  Dr.  Anderson,  but  it  is  also  a  history 
by  illustration  of  the  progress  of  the  art  of  wood- 
engraving  in  America.  These  volumes  contain 
several  hundred  prints,  two  hundred  and  fifty  draw- 
ings mostly  by  Dr.  Anderson  himself,  among  which 
are  portraits  in  water-color  of  his  father  and  mother 
and  other  members  of  the  family  ;  also  of  Dr. 
Young,  William  Morgan,  and  Lansing,  beautifully 
executed  after  the  manner  of  miniatures,  with  up- 
ward of  one  hundred  autograph  letters  of  Ander- 

1  The  colossal  bronze  bust  of  John  Howard  Payne  erected  in  Prospect  Park, 
Brooklyn,  from  its  inception  to  its  final  dedication,  is  as  distinctly  the  product 
of  the  enthusiasm  and  affection  of  Gabriel  Harrison  for  this  neglected  genius 
as  the  book  which  bears  his  name  as  author  upon  its  title-page.  The  Faust 
Club,  of  Brooklyn,  came  into  being  in  a  moment  propitious  for  the  carrying  out 
of  a  long-cherished  notion  of  Mr.  Harrison,  and  he  succeeded  in  infusing  his 
enthusiasm  for  the  work  into  many  of  the  members  of  the  Club.  A  Monu- 
ment Committee  was  appointed,  consisting  of  John  Y.  Culyer,  Frederick  T. 
Hoyt,  and  the  writer.  George  G.  Barnard  acted  as  treasurer  for  the  com- 
mittee. This  organization  resulted  in  the  erection  of  the  Payne  Memorial ; 
and  the  Faust  Club  "  spun  its  task,"  did  its  one  good  work,  and  died. 


son,  his  father,  mother,  and  other  members  of  the 
family,  besides  those  of  Washington,  Franklin, 
Hamilton,  Irving,  Lossing,  Duyckinck,  Dr.  Young, 
William  Morgan,  Adams,  and  about  one  hundred 
others ;  also  specimens  of  Dr.  Anderson's  engrav- 
ing on  copper,  wood,  and  other  material,  his  earliest 
crude  efforts  on  type-metal  or  some  other  soft  ma- 
terial, his  engravings  on  hard  wood  executed  in  his 
prime,  and  in  which  it  is  doubtful  if  he  has  ever 
been  excelled,  even  by  the  great  Bewick. 

In  his  old  age  Dr.  Anderson  continued  engrav- 
ing for  his  amusement.  His  workshop  was  what 
had  formerly  been  a  shed  situated  at  the  rear  end 
of  his  back-yard.  In  the  winter  he  put  up  a  small 
stove  and  continued  to  work  there,  and  the  family 
frequently  heard  the  old  gentleman  splitting  wood 
to  supply  his  stove;  in  the  spring  it  was  discovered 
that  he  had  split  up  and  used  for  fuel  a  large 
quantity  of  his  engraved  boxwood  blocks,  repre- 
senting some  of  his  largest  and  finest  engravings, 
and  which  he  had  kept  for  several  years. 

The  last  two  named  works,  "Payne  "  and  "  An- 
derson," are  more  than  illustrated  books,  more  than 
memorials, — they  are  monuments  erected  by  a 
warm  heart  to  commemorate  unobtrusive  genius. 
Fragile,  indeed,  are  such  testimonials,  and  yet  they 
are  more  enduring  than  stone.  When  Cheops 
erected  that  stupendous  pile  of  granite,  the  great 

174 


pyramid,  Pi  Rama,  the  Mountain,  for  no  other  pur- 
pose than  to  perpetuate  his  name,  he  Httle  sus- 
pected that  an  insitrnificant  weed,  growing  beside 
the  Nile,  would  become  a  more  durable  register  of 
his  fame  than  all  the  quarried  granite  of  Mokatan. 

Many  of  the  books  mentioned  are  still  innocent 
of  the  binder's  art.  Mr.  McKee  has  a  theory, 
founded  upon  experience,  that  an  illustrated  book, 
when  bound  and  placed  on  a  library  shelf,  ceases 
to  attract  and  retain  the  same  interest  held  for  it 
before  binding. 

The  preceding  sketch  enumerates  but  a  small 
portion  of  Mr.  McKee's  library;  for,  in  addition 
to  his  illustrated  books,  it  contains  several  hundred 
volumes  relating  to  the  history  and  literature  of  the 
English  and  American  drama,  and  including  many 
old  quarto  plays,  scarce  and  rare  editions  of  early 
English  and  American  poetry,  and  many  other 
works  of  the  extremest  rarity ;  an  atmosphere  and 
odor  of  literature  and  books  seem  to  pervade  the 
entire  premises. 

The  conformable  fitness  of  accident  is  sometimes 
more  remarkable  than  the  most  studied  design. 
The  sequence  of  dramatic  literature  will  be  pre- 
served, almost  without  a  break,  in  the  succeeding 
collection  of  Joseph  Norton  Ireland,  of  Bridgeport, 
Connecticut.  Mr.  Ireland  has  illustrated  his  "Rec- 
ords of  the  New- York  Stage,"  printed  on  Whatman 

175 


drawing-paper  (only  two  printed),  to  nineteen  thick 
folio  volumes,  by  the  insertion  of  three  thousand, 
three  hundred  and  five  illustrations,  of  which  nine- 
teen hundred  and  thirty-five  are  portraits  of  actors, 
authors,  and  musical  composers;  two  hundred  and 
thirty  are  autographs;  seven  hundred  and  eight  are 
playbills;  two  hundred  and  twenty-four  views  of 
theaters  and  other  public  buildings;  one  hundred 
and  twelve  scenes  from  plays,  and  ninety-isix  are 
maps,  prologues,  epilogues,  and  newspaper  cuttings. 
The  original  playbills  include  many  from  1791 
to  1796,  and  there  is  one  reproduction  of  a  bill  of 
December  20,  1753.  Among  the  autographs  are 
one  each  of  the  Hon.  Rip  Van  Dam,  Hugh  Gaine, 
William  Dunlap,  and  Sir  John  Oldmixon,  together 
with  those  of  the  whole  old  Park  Theater  com- 
pany attached  to  a  complimentary  letter  to  Mr. 
Thomas  Barry  on  the  occasion  of  his  farew^ell  ben- 
efit, June  19,  1833  —  namely,  Mrs.  Austin,  Mr, 
Blakely,  Mr.  and  Mrs.  Durie,  Mrs.  Clara  Fisher, 
Mr.  John  Fisher,  Mr.  and  Mrs.  Hilson,  John 
Jones  (vocalist),  William  Horace  Keppell,  Gilbert 
Nexen,  John  Povey,  Henry  Placide,  Alexander 
Rae,  Miss  E.  Rae,  T.  H.  Reynoldsen,  Peter 
Richings,  and  many  others.  The  above  let- 
ter w^as  presented  to  Mr.  Ireland  by  Mr.  Barry. 
There  are  many  interesting  marginal  notes  of  re- 
ceipts   for    many    nights'  performances    from    the 

176 


treasurer's  book  of  the  old  Park  Theater,  with  a 
marvelous  amount  of  other  interesting  material 
concerning  that  old  theater. 

There  is  in  this  collection  a  manuscript  memoir 
of  Mrs.  Mary  A.  Duff,^  in  four  thick  quarto  volumes, 
containing  two  hundred  and  two  original  pro- 
grams, with  the  name  of  Mr.  or  Mrs.  J.  R.  Duff 
on  every  one  of  them  ;  one  hundred  and  thirty- 
eight  portraits,  eleven  views  of  theaters,  and  one 
hundred  and  three  autographs,  including  those  of 
herself  and  of  her  second  husband,  Joel  G.  Seaver  ; 
her  son,  Thomas  T.  Duff;  other  members  of  her 
family,  and  the  Right  Hon.  Earl  Russell ;  also 
many  of  her  religious  compositions.  The  printed 
memoir  of  Mrs.  Duff,  also  extended  to  four  quarto 
volumes,  containing  four  hundred  and  thirty-nine 

iTo  THE  Editor  of  the  Tribune. 

Sir:  I  have  just  read,  with  much  interest,  some  extracts  from  Mr.  Joseph  N. 
Ireland's  "Life  of  Mary  Duff."  She  was  a  woman  difficult  to  describe, but, 
as  the  girls  say,  "just  perfectly  lovely."  There  are  not  many  living  who 
can  remember,  as  I  do,  of  having  seen  her  many  times  when  she  was  a  mem- 
ber of  the  old  Boston  Theater  Company,  of  which  Snelling  Powell  was 
manager.  The  company  included  Mrs.  Powell,  Mrs.  Duft",  Mrs.  Darley, 
with  Bernard,  Dickinson  (afterward  Dickson),  Duff,  Entwislle,  and  others. 
I  remember  seeing  her  play  with  Cooke  and  also  with  Tom  Cooper.  The 
last  time  I  saw  her  was  about  1832.  She  was  the  heroine  of  some  very 
pathetic  play,  and  during  the  performance  I  happened  to  be  "at  the 
wings,"  and  said  to  her,  "Why,  how  naturally  you  appeared  to  sorrow;  it 
seemed  to  me  as  if  you  were  actually  crying."  "  Why,  bless  you,  I  was  cry- 
ing like  a  liaby  all  the  time,  because  I  was  so  interested.  I  always  try  to 
feel  that  I  am  really  the  character  which  I  represent,  and  to-night  I  tried 
hard  to  stop  crying,  fearing '  the  house  '  would  think  I  was  overdoing  my 
business."  Yes,  she  was  lovely,  and  when  she  was  talking  with  me,  she 
seemed  as  simple  as  a  school-girl  (not  one  of  the  present  day,  though). 
Respectfully,  James  W.  Hale.     (Born  in  180 1.) 

New-York,  June  22,  1882. 

177 


portraits  and  other  engravings,  eighty-three  auto- 
graphs, and  forty-four  original  bills  bearing  her 
name,  including  those  of  her  performances  at  Drury 
Lane, —  in  all  five  hundred  and  sixty-six  illustra- 
tions, besides  fifty-one  critical  notices  by  the  press  ; 
also  some  programs  and  playbills  of  her  perform- 
ances in  Dublin  in  1809-10. 

The  octavo  memoir  of  the  tragedian  Thomas  A. 
Cooper  has  been  enriched  by  the  introduction  of 
more  than  two  hundred  portraits  and  views  and 
thirty-six  autograph  letters,  among  which  are  the 
rare  ones  of  Holcroft,  Godwin,  and  Thomas  Wig- 
nell.  Other  interesting  letters  are  those  of  Mr. 
Cooper  himself  and  his  daughter,  Priscilla  (Mrs. 
Robert  Tyler),  his  other  children  and  grandchil- 
dren, his  wife  and  various  members  of  the  dis- 
tinguished Fairlie  family  into  which  he  married. 
In  two  folio  volumes  accompanying  the  above  are 
inserted  one  hundred  and  twenty-five  original  bills 
bearing  his  name,  from  the  Bath,  Bristol,  Liver- 
pool, Covent  Garden,  and  Drury  Lane  Theaters 
of  England,  and  of  the  different  theaters  of  Boston, 
Providence,  New-York,  Philadelphia,  Baltimore, 
Washington,  Pittsburg,  and  New  Orleans,  with 
manuscript  copies  of  more  than  fifteen  hundred 
other  bills  bearino-  his  name. 

"The  Early  Players  of  Great  Britain,  from  1564 
to    1800,"  occupy    three    quarto    volumes   in    this 

178 


collection,  numbering  three  hundred  and  fifty 
actors.  To  Garrick  and  his  contemporaries  are 
assigned  one  hundred  and  seventy-five  fijll-length 
sixteenmo  portraits,  some  of  which  are  very  rare. 
Horace  Walpole's  "Catalogue  of  the  Royal  and 
Noble  Authors,"  with  four  hundred  and  seventy- 
eight  portraits,  is  extended  to  four  quarto  volumes. 
The  eighteen  volumes  of  "English  History  and 
Biography,"  which  has  been  enlarged  from  "The 
Four  Georges,"  "  George  III.,"  "Queen  Charlotte," 
and  "William  IV.,"  contain  twenty-three  hundred 
and  ninety-three  engravings.  "  Queen  Victoria 
and  her  Ancestors  up  to  Alfred  the  Great,"  with 
fifty-seven  portraits  inserted,  makes  a  large  folio 
accession  to  this  library. 

Mr.  Ireland  has  a  large  collection  of  dramatic 
and  miscellaneous  matter,  composed  principally  of 
portraits  awaiting  assignment. 

J.  J.  Glessner,  of  Chicago,  Illinois,  has  been  suc- 
cessful in  an  effort  to  illustrate  John  Baskerville's 
"Milton's  Paradise  Lost."  He  has  also  illustrated 
and  extended  "Walton's  Compleat  Angler,"  "The 
Table-Talk  of  John  Selden,"  "Life  of  Cardinal 
Wolsey,"  by  George  Cavendish.  Mr.  Glessner 
has  several  other  works  in  progress. 

To  accomplish  a  great  deal  of  work  in  private 
illustrating  requires  a  great  versatility  of  talent,  and 
the  sage  of  proverbial  philosophy  will  say  "with  no 

179 


fixed  purpose  in  any,"  or,  in  the  more  homely  lan- 
guage of  the  adage,  "a  Jack  at  all  trades  and  good  at 
none."  As  an  example  in  direct  refutation  of  this 
old  saw,  we  introduce  to  the  reader  Mr.  Douglas 
Taylor,  of  New- York,  known  as  a  printer,  writer, 
publisher,  and  politician.  As  a  dramatic  writer 
and  critic  previous  to  his  political  and  official  life, 
from  i860  to  1880,  he  was  identified  with  the  better 
walks  of  the  drama,  and  had  accumulated  a  great 
number  of  works  and  prints  connected  with  the 
stage.  For  the  last  seven  or  eight  years  Mr.  Tay- 
lor has  given  much  of  his  time  to  private  illus- 
trating, and  has  visited  London  and  Paris  for  the 
purpose  of  making  collections ;  the  result  is  over 
two  hundred  volumes  of  extra-illustrated  books. 
He  is  thoroughly  heterodox  in  his  methods,  never 
enlarging  or  building  up  the  letterpress  of  the 
work,  and  very  few  are  extended  to  more  than  four 
volumes.  In  this  manner  he  has  extended  the 
greater  number  of  his  books,  adding  specially 
printed  title-pages  when  required.  Among  them 
are  the  "Lives"  and  "Memoirs"  of  Edmund  Kean, 
by  Barry  Cornwall ;  James  Boaden's  "  Lives "  of 
Mrs.  Sarah  Siddons,  J.  P.  Kemble,  and  Mrs.  Eliza- 
beth Inchbald;  "Memoirs  of  Maria  Gasparo  Ves- 
tris";  Raymond's  small  "Life"  of  EUiston,  Dunlap, 
and  G.  F.  Cooke;  the  "Life  of  Charles  Mathews" 
and   the    "Table-Talk,"  both   by  Mrs.   Mathews; 

180 


Rees's  "Edwin  Forrest";  Goodwin's  "Sketches  and 
Impressions";  Colman's  "Random  Records"; 
"Memoirs  of  Samuel  Foote  ";  Cunningham's  "Nell 
Gwynne  ";  "Life  of  Madame  Malibran  ";  Ho^^arth's 
"Musical  Drama";  "Lives"  of  Bannister,  Thomas 
Dibdin,  Mrs.  Doi-othy  Jordan,  George  Holland,  J. 
W.  and  Lester  Wallack.  All  the  above  are  extra- 
illustrated  with  a  prudent  sufficiency. 

Mr.  Taylor  has  many  other  works  illustrative  of 
the  stage.  They  include  "  Biographia  Dramatica," 
Barton  ;  Baker's  "  Old  Actors";  Russell's  "  Repre- 
sentative Actors";  Bernard's  "Retrospections  of 
the  Stage  "  ;  "The  Thespian  Magazine  "  ;  Hook's 
"French  Stage";  "Dramatic  Mirror";  Gibber's 
"History  of  the  Stage";  Donaldson's  "Recol- 
lections"; Robson's  "Old  Playgoer";  "The  Covent 
Garden  Journal." 

Mr.  Taylor  has  paid  especial  regard  to  illustrat- 
ing the  works  of  Laurence  Hutton,  having  com- 
pleted both  the  large-  and  small-paper  editions  of 
Hutton  and  Mathews,  five  volumes,  "Actors  and 
Actresses,"  with  a  view  more  to  the  quality  than 
the  quantity  of  the  illustrations  inserted ;  also 
Laurence  Hutton's  "  Plays  and  Players  "  ;  "  Occa- 
sional Addresses'"  of  the  same  author;  his  "Ber- 
nard's Retrospections  of  America";  "The  Literary 
Landmarks  of  London,"  and  his  last  success,  "The 
Curiosities   of  the   Stage."      Mr.  Taylor  has   one 

i8i 


volume  which  is  certainly  unique:  it  is  "Old  Lon- 
don Comedians,"  a  collection  from  pamphlets  illus- 
trated by  autographs,  portraits,  and  players'  bills 
tastily  arranged,  the  inlaying  by  Trent  and  Moreau, 
the  binding  by  R.  W.  Smith. 

He  has  an  especial  affection  for  his  native  city, 
New-York,  and  has  illustrated  many  books  of  its 
history  ;  among  which  the  favorites  are  Dr.  John 
W.  Francis's  "Discourse";  William  A.  Duer's 
"Old  New-York";  David  T.  Valentine's  "History 
of  New-York  "  ;  Benson  J.  Lossing's  "  History  of 
New- York  City,"  four  volumes  ;  William  Barnes's 
"  Centenary  History  "  ;  John  B.  Moreau's  "Amer- 
ican Chronology,"  and  incidentally  "  Brief  Mem- 
oirs "  of  James  W.  Beekman,  Gulian  C.  Verplanck, 
Charles  P.  Daly,  Charles  O'Connor,  James  W. 
Gerard,  and  Horace  Greeley.  The  "  History  of  the 
Tammany  Society  "  has  been  a  pet  project  of  Mr. 
Taylor  for  some  years  past,  and  when  finished  will 
make  eight  volumes  of  great  interest. 

The  remaining  part  of  this  wonderful  collection 
of  privately  illustrated  volumes,  already  completed, 
are  mainly  of  a  miscellaneous  character,  such  as 
"Leigh  Hunt";  Pennant's  "Old  London  "  ;  "By- 
ron" and  "  Shakspeare,"  with  the  usual  three  or 
four  hundred  illustrations ;  Mrs.  Frances  Trollope's 
"Works";  General  Ulysses  S.  Grant's  "Voyage 
Around   the  World,"  extended  to  four  handsome 

182 


volumes;    Dibdin's    "Tour    in    France    and    Ger- 
many"; Samuel  S.  Cox's  "Travels";  Henry  Swin- 
burne's   "Courts  of  Europe";    Samuel   C.   Hall's 
"Memoirs,"  in  two  thick  volumes,  with  many  fine 
prints  and  autographs  ;   Matthew  L.  Davis's  "  Life 
of  Aaron  Burr";   Madame  Le  Brun's  "Memoirs"; 
"  The  Life  of  George   IV.,"  and  Gait  and  Lady 
Bury's    "  Diary    of  a    Scamp " ;   also  John   Gait's 
"Lives  of  the  Players,"  in  two  volumes  ;   "  Horace 
Walpole  and  His  World,"  in  two  volumes  ;   "  Men 
and  Manners  in  America  "  ;  Fanny  Kemble's  "Rec- 
ord," in  three  volumes;     "  Marriages  of  the  Bour- 
bons," four  volumes;  Baron  Wrangall's  "Memoirs," 
in  three  volumes ;    "Life  of  Francis  Hill";   "The 
Life  of  Comte  Philibert  Grammont,"  with  the  Har- 
ding and  Scriven  illustrations,  and  additional  etch- 
ings including  the  Duchess  of  Portsmouth,  fitting 
appendixes  to  "  Nell  Gwynne."     "  Memoirs  of  the 
Artist  William    P.   Frith,"  in   three  volumes   duo- 
decimo, contains  some  worthy  portraits.     Among 
essentially  literary  works  are  Miss  Mary  Russell 
Mitford's    "  Recollections  "  ;    Thomas    Campbell's 
"  Poets  of  England  "  ;   N.  P.  Willis's  "  Letters,"  and 
O.  W.  Holmes's  "Hundred  Days  in  Europe."  There 
are  at  least  one  hundred  other  volumes  which  go 
to  make  up  this  collection  of  illustrated  books. 

Here    are    Garrick,    Siddons,   Betterton,   Barry, 
Booth,  Foote,  Liston, — in  short,  all  the  knights  of 

183 


the  "sock  and  garter"  who  have  trod  their  hour 
upon  the  stage  and  passed  away,  leaving  behind 
names  to  be  honored  and  respected. 

But  in  all  this  omniform  collection  of  illustrated 
books  we  look  in  vain  for  such  familiar  titles  as 
Dickens,  Doran,  Walton,  or  Ireland;  and  although 
Mr.  Taylor  has  these  works  in  his  library  and  ex- 
presses a  profound  admiration  for  the  last-named 
author,  his  work  illustrated  is  not  numbered  among 
his  extended  books. 

Mr.  Taylor  informed  us,  and  we  thought  with  a 
little  pompousness  of  expression,  that  there  were 
books  in  the  English  language  which  he  had  not 
privately  illustrated  —  a  fact  which  had  not  occurred 
to  us.     Ignoti  nulla  cupido. 

Thousands  upon  thousands  of  the  most  valuable 
and  charming  prints  are  here  stored,  we  may  hope 
permanently,  for  preservation  and  the  use  of  the 
future  historian.  However,  above  all  things,  we 
trust  their  present  form  is  sufficiently  attractive  to 
preserve  them  from  the  hand  of  vandalism.  We 
are  here  to  plead  for  the  preservation  of  these 
delightful  memories  of  past  ages — engraved  por- 
traits,—  so  many  grand  examples  of  which  are  ten- 
derly cared  for  in  the  foregoing  collection,  while 
their  originals,  painted  portraits,  have  already 
crumbled  to  dust ;  these  and  their  many  duplicated 
representatives  only  remain. 

184 


We  cannot  refrain  from  expressing  a  preference, 
not  very  popular,  however,  that  for  enduring  grace 
and  symmetry  there  is  no  impersonation  of  the 
human  features  which  is  superior  to  the  skilfully 
and  artistically  executed  steel-engraving,  which,  if 
thoughtfully  cared  for,  will  preserve  its  freshness  and 
sharpness  for  hundreds  of  years  ;  this  is  not  true  of 
painting.  Our  memory  retains  but  one  image  of 
old  Erasmus;  it  is  always  the  calm,  resigned,  and 
pellucid  expression  which  characterizes  that  print 
from  the  engraving  of  Scriven.  We  have  known 
him  sixty  years,  and  he  is  as  youthful  now  as  when 
we  first  met  him.  Has  the  reader  ever  looked  into 
the  depth  of  that  print  of  "  Sir  Humphrey  Davy,"  by 
Lawrence,  also  engraved  by  Scriven?  Oil  and 
pigments  may  equal,  but  the  burin  has  here  ac- 
complished work  which  the  brush  will  never  sur- 
pass. Can  you  ever  forget  the  expression  of 
Morghen's  "Dante," engraved  by  Wagstaff?  Does 
the  original  painting  of  "Inigo  Jones"  by  Van- 
dyke possess  more  strength,  more  force  of  charac- 
ter in  the  subject  than  the  print  of  Smith,  or  that 
of  Ben  Jonson  engraved  by  Scriven,  or  the  print, 
engraved  by  Knight,  of  Hastings,  from  the  paint- 
ing by  Reynolds  ? 

Select  prints  from  the  engravers  and    painters 
of  the  middle  period  which  have  no  claim   upon 
our  prejudices  in  consequence  of  their  rarity,  but 
13  185 


which  have  a  value  on  honest  estimate  upon  honest 
execution,  and  study  them.  Take  the  portrait  of 
Charles  Du  Jardin,  a  pupil  of  Berghem,  painted  by 
himself  and  engraved  by  Boydell ;  Christopher 
Wren,  painted  by  Kneller  and  engraved  by  Holl ; 
Thomas  More,  painted  by  Holbein  and  engraved 
by  Woodman  ;  Priestly,  painted  by  Gilbert  Stewart, 
engraved  by  Holl ;  the  print  of  John  Marshall,  en- 
graved by  Durand  from  Inman  ;  Washington  Ir- 
ving, engraved  by  Danforth  from  Leslie ;  Thomas 
Paine,  engraved  by  Easto  from  Romney.  In  these 
prints  we  have  preserved  from  all  time  the  faintest 
ray  of  impinging  light  and  darkest  shadow  with 
the  same  purity  as  when  first  brought  to  the  light 
of  day,  while  many  of  the  paintings  of  the  same 
period  are  either  blackened  masses  or  irrecogniz- 
able  so-called  restorations. 

Can  anything  in  black  and  white  excel  the  true 
earnestness  of  expression  represented  in  that  print 
of  John  P.  Kemble  as  Penrtiddock,  drawn  by  Wage- 
man  and  engraved  by  Wright?  or  that  of  John 
Quick  as  Spado,  painted  by  Dupont  and  engraved 
by  Ridley?  or  that  most  marvelously  free  and  char- 
acteristic print  of  Sam  Houston  by  Buttre  from  a 
daguerreotype  ? 

The  vision  of  the  perpetual  yoath  of  Leigh  Hunt 
suggested  to  us  by  the  portrait  painted  by  Jackson 
and  engraved  by  Freeman  is  a  delightful  contem- 

186 


plation.  We  only  know  him  as  represented  in  this 
print,  young  and  in  statuesque  repose.  We  love 
these  old  prints,  portraits,  for  their  immobility, 
their  eternal  youth,  while  we  are  merely  passing 
shadows.  Generation  after  generation  may  pass 
away,  but  the  prints  of  Chaucer,  Erasmus,  and  More 
survive  forever.  John  Fisher,  Bishop  of  Salisbury, 
speaks  of  the  consolation  a  poor  clergyman  derived 
from  a  print  by  Stothard  of  Chaucer  and  his  brother 
pilgrims  journeying  toward  Canterbury  with  the 
early  dawn  breaking  over  the  Dulwich  Hills !  It 
was  the  only  picture  in  the  house.  This  humble 
priest  had  written  his  sermons  for  over  half  a  cen- 
tury under  the  gaze  of  the  immutable  Chaucer. 
He  had  baptized,  married,  and  buried  three  gen- 
erations of  the  townspeople  during  his  pastorate, 
but  there  still  was  Chaucer  in  the  evenine  sun- 
shine,  calmly  smiling,  hale  and  thoughtful,  and 
gentle  as  he  was  fifty  years  since — or  as  he  looked 
four  hundred  years  ago  ;  while  the  parish  register, 
says  Bishop  Fisher,  of  this  patient  laborer  showed 
the  mutability  of  his  surroundings,  and  from  which 
he  quotes : 

March  15.  "Preached  on  Roger  Flail,  the  vil- 
lage champion,  who  was  drowned  in  the  mill-dam 
last  week." 

May  10.  "  Sermon  on  Bella  Pearl,  who  died  day 
before  yesterday  of  a  fever." 

187 


Sept.  20.  "Preached  on  old  Hearty,  who  looked 
as  if  he  would  last  forever,  and  who  is  now  cold 
and  dead,  though  he  eat  a  tremendous  supper  of 
cheese  and  cucumbers  and  ale  the  night  before  he 
died.     Deus  id  vult^ 

The  masterpiece  of  the  illustrated  treasures  of 
Augustus  Toedteberg,  of  Brooklyn,  is  the  interest- 
ing narrative  of  "Nell  Gwynne  ";  it  boasts  of  produc- 
tions from  the  hands  of  Lombart,  Faithorne,  Fisher, 
Houbraken,  Picart,  Vandreblanc,  L'Armesson,  and 
many  others  ;  there  are  twenty  engravings  by  Ver- 
tue,  thirteen  by  Robert  White ;  the  illustrations  are 
mostly  by  contemporaneous  artists,  and  are  five 
hundred  and  forty-two  in  number,  of  which  twenty- 
two  are  portraits  of  Nell  Gwynne.  There  is  an 
extremely  rare  portrait  —  folio,  proof  before  letter 
—  of  William  III.,  by  Verkolije;  another,  on  horse- 
back, by  Baron  ;  also  portraits  of  Hobbes  and  Dug- 
dale  by  Hollar.  There  are  sixty-eight  folio  mez- 
zotints, nineteen  of  which  are  by  Faber,  four  by 
Blooteling.  It  is  in  three  volumes,  large  folio,  and 
is  the  most  carefully  and  richly  prepared  copy  of 
"  Nell  Gwynne  "  we  have  yet  seen. 

Another  copy  of  "  Memoirs  of  the  Life  of  Eleanor 
Gwynne,"  London,  1752,  fifty  portraits  inserted. 

In  looking  over  these  immense  folios,  we  feel 
transported  to  a  world  of  two  hundred  years 
ago.    There  are  Charles  the  Second,  Buckingham, 

188 


Rochester,  Grammont,  Sedley,  Killigrew,  York, 
Clarendon,  Dryden,  Lely,  Castlemaine,  Stewart, 
Nelly  and  the  Queen,  Evelyn  and  the  wondering 
Pepys.  Here  is  everything  to  make  up  the  old 
regime,  except  the  naughty  infelicities. 

Next  comes  Egbert  Benson's  "Vindication  of  the 
Captors  of  Andre,"  printed  on  Whatman  drawing- 
paper.  Of  this  edition  there  were  only  five  printed. 
This  copy  is  illustrated  to  elegant  repletion  with 
entirely  proof  prints. 

Here  we  also  encounter  "The  Book  Hunter,"  by 
John  Hill  Burton,  large  paper,  1882,  extended  to 
six  volumes  by  the  insertion  of  eight  hundred  prints, 
with  author's  memoir;  also  a  "Memoir  of  Horace 
Walpole,"  by  Austin  Dobson,  with  illustrations  by 
Percy  and  Leon  Moran,  one  of  fifty  copies  on 
Japan  paper,  about  four  hundred  illustrations ; 
"Memoirs  of  Comte  Grammont,"  three  volumes 
(1809),  extended  to  six  by  the  addition  of  three 
hundred  portraits. 

"Shakespeare's  England,"  by  William  Winter, 
1886.  This  is  a  delightful  little  book,  only  three 
and  three  quarters  by  five  and  one  half  inches. 
The  possibility  of  making  a  small  book  pretty  by 
illustrations  is  demonstrated  in  this  charming  little 
volume;  nearly  all  the  prints  have  been  inlaid  and 
all  fit  the  text.  There  are  ninety-six  illustrations, 
scenes  relating  to  Shakespeare. 

189 


"  The  Book  Lover's  Enchiridion,"  by  Alexander 
Ireland,  1883,  large  paper,  extended  from  one  vol- 
ume to  six  by  the  insertion  of  seven  hundred  and 
ninety-eight  prints.  All  the  illustrations  of  this 
work  have  been  selected  to  conform  to  the  printed 
page.  The  great  majority  of  the  portraits  are 
gems.  For  this  copy  the  author  furnished  an  auto- 
graph letter,  a  portrait  of  himself,  and  some  cut- 
tings; bound  in  full  levant,  inside  cover  satin. 

"  Henry  Irving,  A  Biographical  Sketch,"  by 
Austin  Brereton,  folio,  1884.  This  is  one  of  the  few 
copies,  on  large  hand-made  paper,  with  proof  of  the 
illustrations  on  India  paper.  The  one  volume  he 
has  extended  to  five  by  the  insertion  of  nine  hun- 
dred and  thirty-two  illustrations,  of  which  two  hun- 
dred and  eighteen  are  different  portraits  of  Henry 
Irving,  one  hundred  and  three  portraits  of  Ellen 
Terry,  one  hundred  and  sixty-eight  caricatures 
of  Irving,  nineteen  caricatures  of  Ellen  Terry,  one 
hundred  and  thirty  are  scenes  from  the  plays  of 
Irving,  six  satin  programs,  thirty-eight  paper 
programs,  portraits  of  actors,  authors,  cuttings, 
criticisms,  views  of  theaters,  etc.  An  autograph 
quotation  from  Hamlet  on  fly-leaf,  by  Irving. 

"Edwin  Forrest,  or  Forrestiana,"  made  up  of 
thirty-eight  obituaries  from  the  daily  and  weekly 
papers  of  different  cities  and  the  country,  and  one 
hundred  and  ten  cuttings  relating  to  his  life.     This 

190 


material  was  inlaid  to  folio,  and  illustrated  by 
eighty-two  portraits,  fourteen  portraits  in  pen- 
and-ink  and  water-color,  many  proofs  on  India 
paper.  There  were  sixteen  caricature  portraits 
of  Forrest,  colored  and  plain,  sixteen  scenes  from 
plays,  four  portraits  of  Mrs.  Forrest  (of  which 
two  are  water-color  drawings),  four  portraits  of 
Josephine  Clifton,  and  one  hundred  and  forty-eight 
playbills,  ranging  from  1827  to  1869,  of  the  Park 
Theater,  the  Bowery,  the  Church  street,  National, 
Chatham,  Old  Broadway,  Fourteenth  street,  Astor 
Place,  Academy  of  Music,  New- York  and  Brooklyn. 
Niblo's ;  also  Philadelphia,  Boston,  New  Orleans, 
Washington,  Pittsburg  theaters,  etc.  Two  large 
volumes,  half  levant.  "Hamlet,"  the  illustrated 
Knight's  edition,  1839,  with  four  hundred  and  fifty 
illustrations,  of  which  one  hundred  and  fifty-two 
are  portraits  of  actors  in  the  character  of  Hamlet, 
nineteen  portraits  of  actresses  in  the  character  of 
Ophelia,  thirteen  imaginary  Hainlets  as  conceived 
by  artists,  and  thirty-one  Ophelias  of  the  same  char- 
acter ;  one  hundred  and  twelve  scenes  of  the  play, 
eighty  playbills,  and  fifty  portraits  not  in  charac- 
ter. The  whole  extended  to  three  folio  volumes. 
"Memoirs  of  Mrs.  Coghlan,"  quarto,  1864,  only 
twenty  printed,  two  hundred  portraits  added. 

Mr.  Toedteberg  is  now  engaged  in  illustrating 
the  "  Operas    of  Richard  Wagner."     This    is   an 

191 


entirely  new  and  unwrought  field  for  illustrating, 
but  it  is  certainly  very  promising  of  noble  results. 
It  embraces  the  Teutonic  and  Northern  mythology, 
the  Nibelungs,  the  Eddas,  the  Sagas,  Rome  in  the 
time  of  Rienzi,  the  medieval  life  of  Niirnberg,  the 
minstrelsy  of  that  period  as  illustrated  in  "Tann- 
hauser,"  and  the  Arthurian  legend  of  "Parsifal  and 
the  Holy  Grail,"  and  "Tristan  and  Isolde." 

Mr.  Toedteberg  has  also  illustrated  the  "Croak- 
ers "  with  five  hundred  prints;  also  the  old  favorite, 
the  "  Bards  and  Reviewers,"  with  about  four  hun- 
dred illustrations.  The  materials  with  which  these 
books  are  extended  are  of  the  choicest  character. 
No  man  has  a  keener  appreciation  of  a  good  print, 
or  a  stronger  aversion  to  a  bad  one,  than  Mr. 
Toedteberg, 

We  have  now  another  very  attractive  series  of 
works  on  the  drama  to  describe.  The  entire  col- 
lection is  the  handiwork  of  its  enthusiastic  and  ac- 
complished owner.  It  is  that  of  Mr.  William  B.  Dick, 
of  the  firm  of  Dick  and  Fitzgerald,  publishers,  New- 
York.  Mr.  Dick's  chef  d'oeuvre  is  an  illustrated 
copy  of  Doran's  "Annals."  It  has  been  extended 
from  four  octavo  to  nineteen  folio  volumes,  by  in- 
serting- three  thousand  two  hundred  illustrations. 
There  are  more  than  twenty-five  hundred  portraits 
of  actors  and  actresses,  a  large  proportion  of  them 
very  rare  and  some  unique.     The  condition  of  the 

192 


prints  is  superb,  with  an  unusual  percentage  of 
proofs.  There  are  thirty  extremely  rare  portraits 
of  Garrick ;  over  one  hundred  of  the  Kembles ; 
numerous  very  rare  ones  of  Mrs.  Siddons,  Edmund 
Kean,  and  Master  Betty.  There  are  also  quanti- 
ties of  rare  views  of  theaters,  benefit-tickets,  auto- 
graph letters,  and  playbills.  This  has  been  a  suc- 
cessful effort  to  illustrate  with  contemporaneous 
prints.  We  have  no  hesitation  in  saying  that  be- 
yond all  peradventure  this  is  one  of  the  most 
imposing  Dorans  ever  illustrated.  Next  in  this 
collection  is  the  "Bards  and  Reviewers,"  by  Duy- 
ckinck,  New-York,  a  quarto.  This  book  has  been 
extended  to  four  volumes  by  the  addition  of  four 
hundred  and  eighty  prints,  mostly  in  proof  state. 
It  contains  ninety  portraits  of  Lord  Byron. 

Fitzgerald's  "  Life  of  David  Garrick,"  two  vol- 
umes, octavo,  extended  to  six,  with  over  five 
hundred  illustrations, —  eighty-five  portraits  of 
Garrick,  all  rare, —  next  comes  under  review. 
There  is  not  an  instance  of  the  violation  of  good 
taste  throup-hout  this  entire  book.  Charles  Mol- 
loy's  "Life  of  Edmund  Kean,"  extended  to  five 
volumes,  and  Macaulay's  "History  of  England,"  five 
Volumes  extended  to  ten  by  the  addition  of  nearly 
one  thousand  illustrations,  are  both  delightful 
books.  He  has  also  illustrated  Irving's  "  Sketch- 
Book,"  one  volume,  quarto,  artists' edition.     In  this 

193 


volume  Mr.  Dick  has  brought  together  complete 
sets  of  all  the  plates  engraved  for  the  various 
editions  of  this  work.  It  is  a  very  valuable  con- 
tribution to  the  history  of  engraving.  The  book 
is  extended  to  five  volumes,  bound  by  Matthews  in 
green  levant.  Also  Greville's  "  Memoirs,"  in  three 
volumes,  octavo,  is  extended  to  eight.  Bryan's 
"Dictionary  of  Painters  and  Engravers"  is  illus- 
trated by  three  thousand  illustrations,  consisting 
of  original  etchings  and  engravings  of  nearly  all 
the  engravers  mentioned  in  the  book,  as  Diirer,  Ru- 
bens, Faithorne,  Blooteling,  Houbraken,^  Vertue, 
and  others  ;  also  J.  Heneage  Jesse's  "George  III.," 
three  volumes,  extended  to  eight ;  Grove's  •'  Dic- 
tionary of  Music  and  Musicians,"  four  volumes,  is 
extended  to  eight;  also  we  note  "Queens  of  Soci- 
ety," "Wits  and  Beaux  of  Society,"  "Literature  of 
Society";  John  Lothrop  Motley's  "Dutch  Republic 
and  History  of  the  United  Netherlands,"  nine  vol- 
umes, extended  to  fifteen.  All  of  the  above  de- 
scribed books  are  amply  illustrated  with  the  very 
best  material. 

1  Jacob  Houbraken,  the  eminent  Dutch  engraver,  who  chiefly  excelled  in 
portraits,  is  more  noted  for  boldness  of  stroke,  brilliancy  of  color,  and  correct 
drawing  than  for  reliable  accuracy.  Lord  Orford  (Horace  Walpole)  says 
that  Houbraken  was  ignorant  of  English  history,  was  uninquisitive  into  the 
authenticity  of  drawings  transmitted  to  him,  and  engraved  everything  sent. 
There  are  two  instances  at  least :  the  Earl  of  Somerset  and  Secretary  Thur- 
loe  are  not  only  spurious,  but  they  have  not  the  least  resemblance  to  the 
persons  they  pretend  to  represent.  An  anonymous  but  evidently  well-in- 
formed writer  in  the  "  Gentleman's  Magazine  "  says  that  Thurloe's  and 
about  thirty  others  are  copied  from  heads  painted  for  nobody  knows  whom. 

194 


Two  features  worthy  of  remark  about  this  collec- 
tion are,  first,  the  excellent  condition  of  the  prints ; 
secondly,  none  of  the  books,  except  the  first  named 
(Doran's  *'  Annals  "),  have  had  the  text  extended. 
Mr.  Dick  has  many  illustrated  books  not  included 
in  this  summary.  His  general  library  consists 
largely  in   works  on  art  and  the  drama. 

The  collection  of  privately  illustrated  books  on 
the  drama  belonging  to  the  library  of  Hon.  A. 
Oakey  Hall  is  deserving  of  eminent  mention  in  this 
monograph.  Among  them  were  "  Shakespeare's 
Complete  Works,"  by  J.  O.  Halliwell,  four  volumes 
extended  to  eight,  seven  hundred  inserted  prints ; 
and  "  Shakspeare's  Plays,"  edited  by  Howard 
Staunton,  with  four  hundred  and  twenty  prints, 
mostly  portraits;  also  "The  Stage:  Both  Before 
and  Behind  the  Curtain,"  by  Alfred  Bunn,  three 
volumes,  sixty-eight  prints  and  one  hundred  and 
twenty-eight  autographs  added,  including  Charles 
Dickens,  Sheridan  Knowles,  George  the  Fourth, 
Tom  Moore,  and  William  the  Fourth ;  Thomas 
Betterton's  "History  of  the  Stage,"  including  me- 
moirs of  Mrs.  Anne  Oldfield  and  Nell  Gwynne ; 
"Retrospections  of  the  Stage,"  by  John  Bernard, 
manager  of  the  American  Theater  and  secretary  of 
the  Beefsteak  Club,  illustrated  by  sixty-one  inserted 
prints;  Mr.  J.  P.  Kemble's  "  P^'arewell  Address,"  on 
retiring   from   the  stage   in    1817,  illustrated  with 

195 


seventy  proof  and  other  prints;  also,  "Memoirs  of 
Mrs.  Sarah  Siddons,"  by  Boaden,  one  hundred  and 
three  inserted  prints,  thirteen  different  portraits  of 
Mrs.  Siddons;  "Memoirs"  of  John  Bannister,  two 
volumes,  eighty  prints;  and  of  J.  Decastro:  this  is 
a  handsome  copy  illustrated  with  sixty-six  inserted 
prints,  portraits  of  distinguished  persons;  also  of 
David  Garrick,  two  volumes,  with  many  fine  prints; 
"Memoirs"  of  Mrs.  Dorothea  Jordan,  two  volumes, 
one  hundred  and  twelve  prints  introduced;  the  in- 
teresting Colman  Family,^  one  hundred  additional 
portraits ;  George  Frederick  Cooke,  ninety-three 
theatrical  portraits ;  Madame  de  Beriot,  many  rare 
prints.  There  were  also  Lord  Byron,  Nell  Gwynne, 
John  Ebers,  R.  J.  Lane,  Joseph  S.  Munden,  George 
Vandenhoff,  David  Wilkie,  and  Abraham  Raim- 
bech,  all  illustrated.  This  library  has  been  since 
dispersed. 

On  the  drama  there  are  still  many  eminent  illus- 
trators to  whom  we  have  only  space  to  refer :  as 
Mr.  J.  W.  Poinier,  Jr.,  of  Newark,  New  Jersey. 
He  has  illustrated  a  large-paper  copy  of  Charles 
Knight's  "Shakspeare"  with  lavish  profusion;  also 
Dr.  Doran's  "Annals,"  by  the  addition  of  many 
rare  portraits  ;   Fitzgerald's  "  Life  of  Garrick,"  and 

1  Without  attempting  in  any  sense  to  discuss  the  question  of  the  drama, 
"an  institution  that  has  developed  intellects  like  Sophocles,  Terence,  Tasso, 
Ariosto,  Sheridan,  Shakspeare,  Rev.  James  Townley,  Lope  de  Vega,  Calderon, 
Corneille,  Moliere,  Schiller,  Goethe,  etc.,  does  credit  to  humanity,  whatever 
pope  or  priest  may  say." — John  A.  Weisse,  M.  D. 

196 


many  others.     Mr.  Poinier  is  an  eminent  and  en- 
thusiastic Shakspearian  scholar. 

R.  H.  H.  Steele,  of  Jersey  City,  has  also  il- 
lustrated some  works  on  the  drama :  Dr.  Doran's 
"Annals,"  Shakspeare's  works,  and  others. 

Stephen  H.  Price,  of  Philadelphia,  has  a  noted 
copy  of  Dr.  Doran's  "Annals,"  and  other  dramatic 
works,  including  Shakspeare. 

Peter  Gilsey,  Esq.,  of  New-York  City,  has  illus- 
trated Joseph  N.  Ireland's  "  Records "  and  Dr. 
Doran's  "  Annals  of  the  Stage."  A  great  many 
fine  prints  have  been  inserted  in  these  works. 

W.  H.  Kemp,  of  New-York,  has  a  fine  col- 
lection of  dramatic  biography. 

'  T.  W.  Lawrence,  of  New-York,  has  illustrated 
a  splendid  copy  of  Dr.  Doran's  "Annals,"  extend- 
ing it  to  ten  volumes,  text  not  inlaid.^  This  is 
a  very  worthy  work.  Also  "American  Statesman 
Series,"  twenty- three  volumes,  is  extended  to 
twenty-seven  by  the  insertion  of  over  fourteen 
hundred  illustrations;  two  copies  of  the  "Book 
Lover's  Enchiridion,"  each  extended  to  three  vol- 
umes by  over  three  hundred  illustrations;  "The 
Enchiridion   of  Wit,"  extended  to  three  volumes, 

1  There  will  be  no  occasion  for  the  illustrators  of  the  greatest  of  all  the 
reproductive  arts,  the  drama,  to  despair  while  the  biographies  of  John 
Brougham,  Edwin  Booth,  Lester  Wallack,  William  E.  Burton,  Charlotte 
Cushman,  Adelaide  Neilson,  Joseph  Jefferson,  E.  L.  Davenport,  John  Gil- 
bert, Mrs.  Scott-Siddons,  Mr.  and  Mrs.  Barney  Williams,  Laura  Keene, 
Matilda  Heron,  Mary  Anderson,  Clara  Morris,  John  McCullough,  and  Law- 
rence Barrett  are  still  unwritten. 

197 


two  hundred  and  fifty  prints ;  Isaac  Disraeli's 
"Literary  Character,"  extended  from  two  to  four 
vokimes  by  over  three  hundred  illustrations.  Two 
copies  of  "  Irvingiana,"  making  a  thick  octavo 
of  the  book.  Also  Augustin  Daly's  souvenir  of 
"  The  Taming  of  the  Shrew,"  which  was  presented 
to  the  patrons  of  his  theater  on  the  evening  of  the 
one  hundredth  performance,  is  illustrated  by  twenty- 
five  of  the  portraits  of  the  company,  each  portrait 
signed.  It  also  contains  the  press  criticisms  on  the 
play,  and  an  account  of  the  supper  given  on  the 
stage  on  that  evening. 

O'gden  Goelet,  Esq.,  of  New-York  City,  has 
magnificently  illustrated  copies  of  John  W.  Fran- 
cis's "Old  New-York,"  Joseph  N.  Ireland's  "Rec- 
ords," and  Blanchard  Jerrold's  "  Life  of  George 
Cruikshank."  This  collection  contains  many  other 
works,  including  George  Daniels's  "  Merrie  Eng- 
land in  the  Olden  Time,"  illustrated  by  the 
author,  and  embracing  the  original  drawings  for 
the  engravings  with  some  of  the  rarest  dramatic 
portraits. 

Dr.  Dudley  Tenney,  of  New-York,  has  accom- 
plished some  remarkable  work  in  private  illustrat- 
ing. It  has  been  the  pastime  of  his  leisure  hours 
during  the  last  twelve  years.  Dr.  Tenney  is  no 
exception  to  the  rule  that  the  noblest  work  in  this 
department  of  art  has  been  accomplished  by  men 

198 


of  active  business  habits.  He  has  illustrated 
Dickens's  works,  all  in  the  original  editions  enlarg- 
ing them  to  seventy-five  volumes  by  the  addition  of 
prints  from  every  known  edition  and  some  remark- 
able French  prints  and  drawings,  also  many  por- 
traits, and  every  view  mentioned  in  the  work.  It 
was  a  prodigious  undertaking.  It  is  half-bound  in 
calf  by  Smith,  New- York,  in  various  sizes. 

Also  Charles  Dickens's  works,  edition  de  luxe, 
enlarged  to  sixty  volumes. 

Also  "Story  of  Dickens's -Life,"  inlaid  to  seven 
and  a  half  by  ten  and  a  half  inches,  and  enlarged 
with  five  hundred  and  fifteen  inserted  prints  and 
one  hundred  and  fifty-nine  pen-and-ink  sketches. 

Charles  Dickens's  "Joseph  Grimaldi,"  original 
edition,  inlaid  to  eleven  by  fifteen  inches,  built  up  to 
four  volumes  (bound  in  half  morocco),  containing 
original  drawings,  water-colors,  playbills,  rare  show- 
cards,  autograph  letters,  etc.  This  is  an  imposing 
work. 

He  has  also  illustrated  another  copy  of  Dickens's 
"Life"  by  Forster,  extending  it  from  three  octavo 
to  ten  quarto  volumes  by  the  insertion  of  many 
hundred  illustrations,  consisting  of  one  hundred 
portraits  of  Dickens,  twelve  autograph  letters  of 
Dickens,  playbills,  music,  views  in  Europe  and 
America,  illustrating  his  travels  in  these  countries. 

He    has    also    illustrated    Washington    Irving's 

199 


"  Memorial,"  extending  it  to  large  quarto,  contain- 
ing seventy-five  portraits  of  Irving,  besides  nearly 
every  person  mentioned  in  the  text ;  also  Irving's 
"  Sketch-Book,"  artist's  edition,  enlarged  to  five 
volumes,  each  article  containing  one  or  more  origi- 
nal drawings,  water-color,  or  pen-and-ink  sketches, 
by  well-known  artists. 

Here  also  we  find  the  omnipresent  "Nell  Gwynne," 
large  paper,  extended  to  two  stout  volumes. 

William  E.  Burton's  "Life,"  by  William  L. 
Keese,  extended  to  two  volumes,  containing  much 
rare  dramatic  matter,  and  autograph  letters ; 
George  Cruikshank's  "Life,"  by  Jerrold,  extended 
to  four  volumes,  inlaid  to  eleven  by  fifteen  inches, 
with  marginal  pen-and-ink  sketches  and  illustra- 
tions from  his  works  —  a  very  entertaining  book. 

We  have  done  but  feeble  justice  to  the  collection 
of  Dr.  Tenney  in  this  brief  sketch.  He  has  many 
works  in  an  unfinished  state,  not  convenient  for 
handling,  for  which  he  is  continually  collecting, 
as  Martha  Lamb's  "  History  of  New-York  City," 
to  be  enlarged  to  many  volumes;  "Life  of  John 
Leech,"  "Life  of  Phiz"  (H.  K.  Browne),  and  the 
Abbotsford  edition  of  Scott's  novels. 

Thomas  H.  Morrell  was  for  many  years  one  of 
the  most  active  illustrators  in  America.  Among 
the  works  illustrated  by  him,  most  conspicuous  was 
Dr.  Francis's  "  Old  New-York,"  in   nine  volumes, 

200 


folio.  It  was  sold  to  a  New-York  collector  for 
$3650.  Irving's  "  Life  of  Washington,"  extended 
to  ten  volumes,  quarto,  sold  to  Mr.  Menzies  (1866) 
for  $2000,  from  whom  Mr.  Viele  purchased  it,  and 
at  his  death,  in  1873,  it  went  to  Boston,  where  it 
now  remains.  He  illustrated  a  second  copy  of 
Irvine's  "Life  of  Washincrton  "  in  ten  volumes. 
This  copy  sold  (1870)  for  $980.  He  also  extended 
Ireland's  "  Records  of  the  Stage"  to  five  volumes, 
quarto,  which  he  sold  for  $900;  William  Coleman's 
"  Facts  and  Documents  Concerning  the  Death  of 
Alexander  Hamilton,"  one  volume,  quarto,  $200; 
George  W.  Custis's  "  Recollections  of  Washing- 
ton," octavo,  three  volumes,  sold  for  $150  ;  "  New- 
York  City  during  the  Revolution,"  one  volume, 
$140.  These  books  have  generally  found  resting- 
places  in  the  libraries  of  the  mighty  collectors  of 
New- York.  But  the  greatest,  probably,  of  all  Mr. 
Morrell's  productions  was  the  "Autobiography  of 
Col.  John  Trumbull,"  enlarged  from  one  volume  to 
five,  imperial  folio,  by  the  insertion  of  one  thousand 
portraits,  views,  etc.  This  was  certainly  a  very 
wonderful  book.  It  was  elegantly  bound  in  full 
green  levant,  and  was  purchased  by  John  Pierpont 
Morgan  of  New-York. 

Mr.  Hamilton  Cole,^  residing  in  St.  Mark's  Place, 

1  Mr.  Cole  died  in  1889.  The  following  statement  of  his  library  was  made 
up  in  1880  and  again  in  188S.  Mr.  Cole's  library  was  sold  by  Bangs  &  Co., 
April,  1890. 

1^  201 


New-York,  has  a  small  but  very  select  library  of 
illustrated  books,  all  of  the  finest  editions,  and  the 
prints  with  which  they  are  illustrated  are  remark- 
able for  their  purity  and  excellence.  He  com- 
menced collecting  books  and  prints  about  sixteen 
years  ago,  and  modestly  styles  himself  an  amateur. 
To  enjoy  the  hospitalities  of  a  man  of  the  culture 
and  attainments  of  Mr.  Cole  is  an  event  in  one's  life 
likely  to  linger  long  as  a  fund  of  pleasant  memories.^ 
The  Pickering  edition  of  "Izaak  Walton,"  of  1836, 
two  volumes,  octavo,  enlarged  to  seven,  royal 
quarto,  by  the  addition  of  two  thousand  prints, 
water-colors,  drawings,  and  many  etchings,  artist 
proof,  and  on  India  paper,  inlaid  by  Trent,  and 
bound  by  Matthews,  is  a  production  of  that  quality 
of  the  art  which  recognizes  few  equals.  There  is 
one  feature,  however,  of  this  book  which  gives  it 
an  obvious  individuality  above  any  Walton  that  we 
have  yet  seen.  It  is  the  absence  of  the  usual  quota 
of  portraits  of  the  clergy.  In  view  of  this  addi- 
tional testimony  to  good  taste,  we  cannot  charge 
our  friend  with  having  maliciously  exiled  the  pre- 
latic  orders  from  his  book  ;  and  yet  the  conspicuous 

absence  of  these  ubiquists — "gentlemen   of  the 
cloth"  —  will  ever  be  slightly  suggestive  of  pre- 

1  The  Gutenberg  Bible,  one  of  the  marked  features  of  Mr.  Cole's 
library,  was  purchased  at  the  Brindley  sale  in  1884  for  $8000.  It  was  sub- 
sequently sold  to  Mr.  Brayton  Ives  for  $14,500,  and  at  the  sale  of  his  library 
in  1891  it  was  purchased  by  W.  E.  Ellsworth  for  $14,800. 

202 


pense.     Be  that  as  it  may,  it  is  nevertheless  a  mag- 
nificent book,  and  has  our  fullest  commendations. 

Mr.  Cole's  collection  of  "Dibdin"  reaches  fifty-six 
volumes,  large  paper,  uncut,  uniformly  and  richly 
bound  by  Matthews  in  full  crushed  levant  of  match- 
less beauty.  This  is  nearly  a  complete  set  —  three 
more  volumes  than  are  contained  in  the  justly  cele- 
brated set  .of  Mr.  Menzies,  which  sold  for  $1989. 
Many  of  them  are  illustrated  by  the  rarest  prints, 
some  from  private  plates.  Dibdin's  "  Bibliomania," 
or  **  Book-madness,"  reprint  of  the  first  edition,  en- 
larged to  folio,  bound  by  Matthews  in  crushed 
crimson  levant,  sides  inlaid  and  tooled  elaborately, 
is  illustrated  by  two  hundred  and  thirty-three  care- 
fully selected  prints.  This  is  one  of  twelve  copies 
printed  for  the  Club  of  Odd  Sticks,  on  Whatman 
paper,  1864. 

"The  Book  of  the  Artists:  American  Artist 
Life,"  by  H.  T.  Tuckerman,  is  by  immense  odds  the 
most  sumptuous  copy  of  this  work  that  we  have 
ever  seen.  It  contains  sixteen  hundred  prints,  au- 
tograph letters,  drawings  and  sketches,  most  admi- 
rably adapted  to  the  text,  enlarged  to  six  volumes, 
quarto,  two  hundred  and  ninety-eight  portraits, 
seven  hundred  and  ninety-eight  prints,  forty-two 
autograph  letters,  twenty-one  sketches  in  pencil, 
inlaid  by  Trent,  and  bound  by  Matthews.  Now 
owned  by  Bayard  Tuckerman. 

203 


Mr.  Cole  has  also  the  "  Life  of  Izaak  Walton," 
by  Zouch  ;  Gosden  edition,  1826,  illustrated  by  one 
hundred  and  fifty  contemporaneous  illustrations ; 
also  the  "  Print  Collector,"  by  Maberly,  original 
edition  of  1844,  illustrated  by  original  engravings 
of  Diirer,  Rembrandt,  Van  Leyden,  Callot,  Behm, 
Aldegrever,  Wierx  (Wierix),  Waterloo,  Dietricy ; 
also  proof  portraits  of  the  artists  mentioned.  This 
is  one  of  the  most  delightful  books  in  the  collection. 

To  meet  the  "  Memoirs  of  the  Due  de  Saint  Si- 
mon," in  twenty  volumes,  royal  octavo,  in  faultless 
condition,  with  four  hundred  and  forty-three  por- 
traits, nearly  all  proofs,  besides  the  one  hundred 
and  eighty  portraits,  proofs  before  letters,  intended 
for  the  book,  bound  by  Chambolle  Duru  in  crimson 
polished  levant  with  tooled  inside  borders,  and 
watered-silk  linings,  is  a  luxury  likely  to  be  enjoyed 
not  more  than  twice  in  a  lifetime.  It  is  a  maenifi- 
cent  exhibition  of  the  perfection  of  the  French  in 
the  art  of  engraving  one  century  ago.  Such  is  the 
character  of  Mr.  Cole's  copy  of  this  famous  book. 
It  was  purchased  from  the  collection  of  an  amateur 
in  1869,  $780.  There  are  also  the  "Life"  of  the 
plastic  Sheridan,  illustrated  and  extended,^  and  a 
"Sketch"  of  the  life  of  Goethe,  the  German  Vol- 

1 "  Memoirs  of  Right  Hon.  Richard  Brinsley  Sheridan,"  by  Watkins,  il- 
lustrated by  upward  of  three  hundred  and  fifty  portraits,  views,  etc.,  includ- 
ing many  dramatic  celebrities,  also  autograph  letters  of  Thomas  and  R.  B. 
Sheridan,  in  two  large  volumes,  royal  quarto,  bound  by  R.  W.  Smith. — 
Catalogue  of  a  Playwright. 

204 


taire ;  the  "  Dance  of  Death,"  and  many  others.  It 
was  in  this  collection  that  we  first  saw  an  original 
Count  de  Fortsas  Catalogue.^ 

As  to  bindings,  we  believe  that  Mr.  Cole  has 
some  examples  of  Mr.  Matthews  with  Grolier  or- 
namentation which  can  with  difficulty  be  surpassed. 
The  specialties  of  this  library,  independently  of  the 
illustrated  works,  are  early  editions  of  the  classics, 
bibliography,  with  a  sprinkling  of  general  litera- 

1  The  most  noted  hoax  ever  perpetrated  upon  the  body  elile  in  literature 
was  that  of  the  Comte  de  Fortsas  sale  catalogue  in  1840.  The  following 
account  of  this  inimitable  affair  is  an  extract  from  Philes's  "  Philobiblion," 
volume  II.,  page  75. 

In  the  year  1840  the  book-collectors  in  Europe  were  greatly  excited  by 
the  publication  of  the  sale  catalogue  of  the  Count  J.  N.  A.  de  Fortsas.  This 
little  volume  of  only  fourteen  pages  contained  a  list  of  the  books  which 
formed  the  Count's  collection,  composed  of  fifty-two  articles  only,  each  of 
them  unique.  The  Count  would  keep  no  book  in  his  collection,  if  he  found 
it  mentioned  by  any  bibliographer.  No  wonder  the  bibliographical  world 
was  excited. 

The  sale  was  to  take  place  in  the  office  of  a  notary  of  Binche,  an  insignifi- 
cant village  of  Belgium.  The  catalogues  were  sent  to  the  great  collectors 
of  France  and  England,  and  each  recipient  supposed  himself  specially  favored, 
and  each  kept  his  own  secret.  It  is  said  that  Brunei,  Nodier,  Techener, 
Renouard,  and  other  bibliophiles  of  Paris  met  in  the  stage  to  Binche,  each 
one  having  hoped  to  steal  away  unnoticed  and  have  the  game  all  to  himself. 

M.  Castian,  of  Lisle,  who  was  greatly  interested  in  the  treasures  of  this 
sale  (particularly  in  a  work  published  by  Castman,  of  Tournay,  relating  to  the 
Belgian  revolution  of  1830,  the  entire  edition  of  which  had  been  suppressed, 
this  copy  fortuitously  being  saved),  seemed  a  little  incredulous  about  this 
wonderful  collection,  and  took  the  precaution  to  make  some  inquiries  as  he 
was  passing  through  Tournay  concerning  the  book,  and  called  on  the  pub- 
lisher. M.  Castman  had  forgotten  it,  but  his  foreman  recollected  it,  and  the 
author,  M.  Ch.  Lecocq,  perfectly.     This  at  once  silenced  his  suspicions. 

The  Baron  de  Reiffenberg,  then  the  Director  of  the  Royal  Library  of  Brus- 
sels, asked  for  an  appropriation  to  purchase  some  of  these  treasures,  which 
was  granted.  His  commission  to  purchase  covered  the  entire  catalogue, 
save  seven  articles  which  were  thought  to  be  too  free  for  a  public  library. 
One  enthusiastic  bookseller  made  the  journey  to  Binche  from  Amsterdam, 
only  to  see  one  volume,  the  "  Corpus  Juris  Civilis,"  printed  by  the  Elzevirs 

205 


ture,  French  and  English.  Mr.  Cole  has  also  a 
large  professional  library.^ 

The  unreserved  freedom  with  which  we  were  in- 
vited to  range  the  vast  laboratory  of  historic  wealth 
belonging  to  Dr.  Thomas  Addis  Emmet  demands 
from  us  more  than  a  passing  acknowledgment. 
Formal,  yet  warm-hearted,  liberal,  an  ardent  and 
unfeigned  lover  of  books,   and  responsive  to  this 

on  vellum.  The  Princess  de  Ligne,  anxious  to  destroy  the  record  of  her 
ancestor's  achievements,  and  to  protect  the  reputation  of  the  grandmothers 
of  the  best  families  in  the  state,  wrote  to  M.  Voisin  to  buy  No.  48  at  any 
price  :  "  Achetez,  je  vous  en  conjure,  a  tout  prix,  les  Sottises  de  Notre  Polis- 
son  de  Grandpere." 

The  Roxburghe  Club  was  represented ;  and,  singularly  enough,  every 
book  from  the  catalogue  appealed  with  peculiar  force  to  the  taste  or  weak- 
ness of  some  distinguished  collector,  and  each  one  was  the  fortunate  posses- 
sor of  a  catalogue  through  the  post. 

Tradition  says  that  the  good  people  of  Binche,  seeing  their  town  invaded 
by  a  rusty  and  serious-looking  set  of  strangers,  all  inquiring  for  the  office  of 
the  same  notary,  who  had  no  existence,  began  to  suspect  some  plot  against 
the  liberties  of  the  slate,  and  consulted  about  the  propriety  of  putting  as 
many  of  them  as  their  limited  accommodations  would  permit  under  confine- 
ment. 

On  the  morning  of  the  sale  the  newspapers  contained  a  notice  that  the 
bibliographical  world  would  learn  with  regret  that  the  library  of  Count  de 
Fortsas  would  not  be  sold,  the  town  of  Binche  having  resolved  to  keep  it 
together  in  honor  of  the  collector,  their  townsman. 

The  force  of  the  hoax  could  go  no  further.  For  the  whole  affair  was  a 
hoax.  The  Count  de  Fortsas  was  a  myth — his  chateau,  his  passion,  his 
success  in  bibliographical  pursuits  were  apocryphal.  And  yet  M.  Cha- 
lons, a  French  collector,  admitted  to  a  stageful  of  bibliophiles,  whom  he  met 
on  the  road,  to  have  had  the  pleasure  of  a  long  personal  .acquaintance  with 
the  Count. 

He  is  said  to  have  been  the  author  of  this  witty  practical  joke. 

1  The  following  note  from  Mr.  Cole,  in  answer  to  some  inquiries  not 
entirely  pertinent  to  our  subject,  may  not,  however,  be  without  interest  to 
the  book-lover. 

"  New-York,  December  20, 1880. 

"  I  take  pleasure  in  answering  the  inquiries  contained  in  your  note.  The 
work  commonly  known  as  the  '  Poliphile'  was  published  at  Venice  by  Aldus, 
in  1499.     It  is,  perhaps,  the  most  perfect  specimen  of  that  press.     In  the 

206 


passion  in  others,  no  man  ever  displayed  greater 
pleasure  or  a  more  genial  enthusiasm  than  he  in 
unfolding  his  great  storehouse  of  illustrated  litera- 
ture to  us. 

We  here  enter  a  repository  more  distinctly  Amer- 
ican in  feeling,  fervor,  and  munificence  than  any  we 
have  yet  seen,  and  we  at  once  feel  an  attachment, 
by  patriotic  response,  to  a  collection  which  revivifies 

beauty  of  the  designs  with  which  it  is  profusely  embellished,  and  in  the  ele- 
gance and  tastefulness  of  the  wood-engravings,  it  is  considered  to  be  without 
a  rival  among  the  publications  of  the  fifteenth  century.  It  has  for  a  long  time 
been  a  favorite  with  collectors.  There  is  said  to  be  a  perfect  copy  printed 
upon  vellum  in  the  library  of  the  Duke  of  Devonshire.  Charles  Nodier,  who 
was  fortunate  enough  to  pick  up  a  copy  for  a  few  francs,  made  the  work  the 
subject  of  a  pleasing  little  romance  entitled  '  Franciscus  Columna,'  the  name 
of  the  supposed  author.  The  second  edition  was  printed  at  the  same  press 
in  1545.  There  are  also  French  translations  published  in  folio  in  1546,  1554, 
1561,  and  in  quarto  in  1600,  and  in  imperial  octavo,  1804;  also  an  English 
translation,  quarto,  1592.  There  is  now  being  published  at  Paris,  by  Isidor 
Liseux,  a  French  version  which  will  be  completed  in  ten  parts,  four  of  which 
have  been  issued.  I  possess  the  editions  of  1499,  1545,  1561,  and  1600,  which 
I  shall  be  glad  to  show  you. 

"  As  to  the  '  Philobiblion,'  it  was  written  by  Richard  de  Bury,  Bishop  of 
Durham,  who  was  born  in  12S7.  It  is  the  earliest-known  treatise  upon  the 
love  of  books  and  book-collecling,  and  is  therefore  regarded  with  extreme 
delight  by  those  afflicted  with  this  most  charming  malady. 

"  The  earlier  editions  are  exceedingly  rare.  The  first  edition  was  printed 
at  Cologne,  in  1473,  in  octavo,  containing  forty-eight  leaves,  twenty-six  lines 
to  the  page. 

"  The  second  edition  was  printed  at  Spires,  in  1483,  in  imperial  quarto. 
It  contained  thirty-nine  leaves,  thirty-one  lines  to  the  page,  and  is  much  rarer 
than  the  first.  Indeed,  it  may  be  said  to  be  among  the  rarest  of  the  'Fif- 
teeners.' 

"  None  of  the  former  editors  of  the  '  Philobiblion  '  appear  to  have  seen  it, 
and  the  very  many  changes  in  the  readings  have  not,  therefore,  been  noticed, 
so  far  as  I  am  aware.  I  possess  the  editions  of  1473,  ^A^3  ;  Leipsic,  1674 ; 
Helmstad,  1703  ;  London,  1831 ;  Paris,  1856,  and  the  very  beautiful  Amer- 
ican edition  by  Hon.  Samuel  Hand,  and  printed  by  Munsell.  I  think  these 
later  dates  are  correct,  but  I  am  writing  from  memory,  away  from  my  books. 

"  Yours, 

"Hamilton  Cole." 

207 


the  significant  eloquence  of  Pitt  and  Paine  and  Pat- 
rick Henry.  The  first  book  submitted  to  us  was 
the  "  Biographies  of  the  Signers  of  the  Declaration 
of  Independence,"^  by  John  Sanderson,  Robert 
Wain,  and  others,  in  nine  volumes.  This  work 
Dr.  Emmet  has  extended  to  twenty  thick  volumes, 
folio.  For  completeness  and  detail,  we  believe  this 
to  be  the  most  remarkable  historical  work  in  the 
world.  It  contains  over  three  thousand  autographs 
and  autographic  letters,  eighteen  hundred  portraits, 
many  of  the  greatest  rarity,  with  hundreds  of  prints 
and  drawings,  fourteen  water-colors  of  American 
scenery,  by  eminent  English  artists  who  accompanied 
the  British  troops  to  America.  These  last  were 
purchased  at  the  sale  of  the  Marquis  of  Hastings, 
by  Dr.  Emmet,  at  $50  each,  and  are  a  most  valu- 
able acquisition  to  the  work.     There  are,  besides, 

lA  copy  of  this  work,  extended  to  nine  volumes,  folio,  with  nine  autograph 
letters,  signed,  besides  letters  and  documents  signed,  with  a  great  many 
portraits  and  views,  was  sold  at  the  Morrell  sale  in  1869.  It  was  bound  in 
half- green  morocco,  gilt  edges.     It  fetched  $1200. 

Of  the  fifty-six  signers  of  the  Declaration  of  Independence,  it  is  stated  that 
nine  were  born  in  Massachusetts;  eight  in  Virginia;  five  in  Maryland;  four 
in  Connecticut;  four  in  New  Jersey;  four  in  Pennsylvania;  four  in  South 
Carolina;  three  in  New-York ;  three  in  Delaware;  two  in  Rhode  Island; 
one  in  Maine;  three  in  Ireland;  two  in  England;  two  in  Scotland;  and 
one  in  Wales.  Twenty-one  were  attorneys ;  ten  merchants  ;  four  physicians ; 
three  farmers  ;  one  clergyman  ;  one  printer  ;  sixteen  were  men  of  fortune. 
Eight  were  graduates  of  Harvard  College  ;  four  of  Yale;  three  of  New  Jer- 
sey; two  of  Philadelphia  ;  two  of  William  and  Mary;  three  of  Cambridge, 
England;  two  of  Edinburgh;  and  one  of  St.  Omer's.  At  the  time  of  their 
deaths,  five  were  over  ninety  years  of  age;  seven  between  eighty  and  ninety; 
eleven  between  seventy  and  eighty;  twelve  between  sixty  and  seventy;  eleven 
between  fifty  and  sixty ;  seven  between  forty  and  fifty ;  one  died  at  the  age 
of  twenty-seven  ;  and  the  age  of  two  is  uncertain. 

208 


many  hundreds  of  head  and  tail  pieces  on  India 
paper  scattered  through  the  book ;  the  original 
warrant  of  King  George,  with  his  signature,  order- 
ing out  the  first  troops  to  suppress  insurrection  in 
America ;  an  original  manuscript  of  the  private 
rules  adopted  for  conducting  business  in  Congress 
during  the  contest  for  independence,  in  fourteen 
small  quarto  pages  —  a  very  interesting  relic;  also 
many  other  original  state  papers,  all  having  the 
greatest  historic  value  and  significance.  It  con- 
tains the  finest  collection  of  autograph  letters  ot 
the  signers  in  existence,^  comprising  all,  except  But- 
ton Gwinnett,  of  Georgia,  and  John  Hart,  of  New 
Jersey :  of  these,  a  signature  only.  Six  months 
may  be  spent  with  profit  upon  this  wonderful  book. 
It  cost  over  twenty  thousand  dollars.  The  ad- 
ditions to  the  work  since  the  above  estimate  are 

1  It  may  not  be  uninteresting,  as  showing  the  value  set  upon  the  autographs 
of  some  of  the  signers  by  posterity,  to  recapitulate  the  prices  paid  for  letters 
in  their  handwritings  and  signed  by  them,  at  Thomas  &  Sons'  salesrooms. 
South  Fourth  street,  Philadelphia,  November  i,  1878,  and  present  values  : 

A  letter  of  John  Adams,  Sept.  30,  1778 $10.00    $50.00 

Josiah  Bartlett,  Aug.  22,  1794 9.00       15.00 

Carter  Braxton,  Dec.  18,  1783   7.00       15.00 

Abraham  Clark,  June  17,  1776 10.00     150.00 

Samuel  Chase,  Sept.  9,  1777 19.00      25.00 

William  Floyd,  July  8,  1 778 16.00      30.00 

Benjamin  Franklin,  Jan.  9,  1762 12.00      45.00 

Button  Gwinnett  (signature  only  to  draft  of  letter)  110.00     700.00 

Lyman  Hall,  Sept.  12,  1785 60.00     250.00 

Jos.  Hewes,  Dec.  14,  1772 37-50      50.00 

Wm.  Hooper,  July  16,  1 782   32.50    200.00 


John  Hancock,  July  li,  1778 9.00 

Thomas    Lynch,  Jr.   (signature   only,   cut   from 

book)  .  . . .' 9500 

209 


;o.oo 


?oo.oo 


certainly  not  less  than  as  much  more,  indepen- 
dent of  the  advance  of  values,  which  certainly  has 
been  threefold.  The  following  is  a  list  of  the  new 
material : 

The  "Proceedings  of  the  Albany  Congress,"  1 754, 
privately  reprinted  especially  for  this  work  on  draw- 
ing-paper, in  one  volume,  folio.  The  "Stamp  Act 
of  Congress,"  1765,  was  republished  in  one  vol- 
ume, folio,  with  proceedings.  "  Proceedings  of  the 
Congress  of  1 774,"  reprinted  for  the  volume,  in  one 
volume,  folio.  The  "Articles  of  Confederation," 
in  one  folio  volume.  "  Presidents  of  Congress, 
1774  to  1789,"  with  the  "Presidents  and  Vice- 
Presidents   of  the    United   States,   1789   to   1864," 

There  is  a  perfectly  unique  letter  of  Thomas  Lynch,  Jr.,  in  this  collection 
of  Dr.  Emmet,  the  value  of  which  is  beyond  any  estimate  which  we  dare 
venture  to  state  here. 

A  letter  of  Francis  Lightfoot  Lee,  Jan.  14,  1769 $21.00    $15.00 

I   "         "     Lewis  Morris,  May  23,  1 794 10.00       75-oo 

"         "     Thos.  Nelson,  April  7,  1782  10.00       25.00 

"         "     R.  T.  Paine,  Jan.  9,  1787 10.00       25.00 

"         "     Wm.  Paca,  Feb.  19,  1779 16.00      40.00 

"         "     John  Penn,  Oct.  4,  1786 27.50      40.00 

"        "     Edward  Rutledge 8.00      40.00 

"         "     Roger  Sherman,  Feb.  14,  1792 21.00       75-0° 

"         "     Jos.  Smith 18.00      40.00 

"         "     Thomas  Stone,  April  27,  1783 18.00     100.00 

"         "     John  Witherspoon,  April  II,  1772 ii.oo      20.00 

"         "     Wm.  Whipple,  Oct.  3,  1764 H-OO      25.00 

"     William  Williams,  March  17,  1772 15.00       25.00 

"         "     Oliver  Wolcott,  Feb.  29, 1776 12.00     100.00 

"         "     Geo.  Walton,  April  22,  1773 16.00       20.00 

"         "     Geo.  Wythe,  Dec.  22,  1773 16.00      40.00 

The  figures  on  the  right  are  those  of  Mr.  W.  R.  Benjamin  — present 
values,  1891. 

Some  Expensive  ForeiGiV  Books. — A  gentleman  named  Crowles  ex- 
pended over  $10,000  in  illustrating  a  copy  of  Pennant's  "  London,"  which 

210 


with  a  biographical  sketch  of  each,  specially  writ- 
ten for  the  work  and  printed  on  drawing-paper, 
in  two  volumes,  folio.  "Siege  and  Surrender  of 
Charleston,"  1780,  illustrated  by  the  original  doc- 
uments from  General  Lincoln's  papers,  in  one  folio 
volume.  "Siege  of  Savannah,"  1779,  illustrated  by 
the  original  documents  from  General  Lincoln's  pa- 
pers, in  two  folio  volumes. 

Two  unbound  folio  volumes  complete  with  col- 
lection of  autographs,  letters,  and  portraits  of  the 
members  and  other  original  documents  ;  of  the 
"Continental  Congress"  of  1774,  1789,  five  folio 
volumes;  the  "Annapolis  Convention,"  one  volume, 
folio  ;  the  "Convention  for  forming  the  Constitution 
of  the  United  States,"  one  folio  volume;  "Wash- 
ington's Military  Family,"  one  volume,  folio. 

Dr.  Emmet  has  formed  four  sets  of  the  "Auto- 
he  bequeathed  at  his  death  to  the  British  Museum.  William  Bowyer,  re- 
nowned as  the  publisher  of  the  most  costly  edition  of  Hume's  "England," 
spent  the  leisure  hours  of  thirty  years  in  illustrating  Macklin's  folio  Bible, 
which,  after  his  death,  was  put  up  at  lottery  by  his  daughter  among  4000  sub- 
scribers, at  a  guinea  each.  It  contained  7000  prints,  representing  specimens 
of  the  work  of  600  different  engravers,  and  was  bound  up  in  forty-five  stout 
volumes.  A  copy  of  Clarendon's  "Rebellion"  was  copiously  illustrated  by 
Mr.  A.  H.  Sutherland,  of  London,  at  an  expense  of  $50,000!  In  this  work 
there  was  one  engraving  alone  —  the  portrait  of  James  I.  and  his  Queen  — 
which  cost  80  guineas.  This  noble  work,  with  a  copy  of  Burnet's  "  Reforma- 
tion," contained  19,000  engravings.  Both  of  these  works,  bound  uniformly 
in  67  volumes,  now  ornament  the  shelves  of  the  Bodleian  Library.  There 
was  once  a  copy  of  Voltaire's  works,  in  90  volumes,  illustrated  with  12,000 
engravings.  This  is  said  to  have  been  the  labor  of  twenty  years.  The  cele- 
brated bibliomaniac,  George  Henry  Freeling,  illustrated  a  copy  of  the  "Biblio- 
graphical Decameron,"  extending  it  from  three  to  eleven  volumes,  which  Dib- 
din  said  was  the  most  stupendous  triumph  of  book-ardor  with  which  he  was 
acquainted. — Bookworm,  Sabine's  Bibliopolist,  Vol.  III.,  page  172. 

21  I 


graphs  of  the  Signers  of  the  Declaration  of  Inde- 
pendence." The  best  set  is  to  be  bound  in  a  special 
volume,  to  which  he  has  written  and  has  had  printed 
an  introduction.  This  introduction  is  on  drawing- 
paper,  with  initial  letters,  head-  and  tail-pieces,  etc. 
It  is  illustrated  with  a  number  of  original  documents 
of  almost  priceless  value;  the  binding  will  be  unique 
in  a  special  design  of  brass  and  enamel  work  which 
has  been  furnished. 

He  has  also  had  Benson  J.  Lossing's  "  Field 
Book  of  the  Revolution  "  inlaid  by  Trent,  and  this 
will  be  extended  to  eighteen  folio  volumes.  It  will 
contain  an  autograph  of  nearly  every  important 
person  mentioned,  with  portrait,  and  thousands  of 
other  illustrations,  the  newspapers  of  the  day,  etc., 
etc.  As  a  book  for  reference  its  equal  is  not  likely 
ever  to  be  formed  again,  nor  could  it  be  possible  to 
eet  together  aeain  so  much  valuable  material  in 
original  documents.  Many  of  the  portraits  were 
specially  taken  for  this  work,  and  no  other  copies 
exist,  while  in  several  instances  the  originals  have 
been  lost  or  destroyed,  all  of  which  adds  very  much 
to  the  value  of  those  here  preserved. 

The  historical  value  of  the  material  brought  to- 
gether by  Dr.  Emmet  is  very  great  indeed,  and  it 
is  a  happy  thing  for  the  future  student  of  American 
history  that  men  of  means  and  culture  take  plea- 
sure in  these  collections. 

212 


There  are  three  distinct  items  in  Dr.  Emmet's 
method  with  all  his  illustrated  books — an  extra 
title-page  to  every  volume,  with  his  own  imprint ; 
a  symbolic  frontispiece  for  each  volume ;  and  the 
insertion  of  head  and  tail  pieces  on  India  paper  at 
every  convenient  place  through  the  entire  book. 

Auxiliary  to  the  above  named,  and  nowise  its 
inferior,  except  in  size,  is  his  illustrated  Rufus  W. 
Griswold's  "Washinofton  and  His  Generals"^  — 
originally  in  two  volumes,  octavo,  extended  to 
eight,  folio,  by  original  autograph  letters,  appoint- 
ments, commissions,  reports,  accounts,  and  about 
twenty-four  hundred  additional  illustrations,  extra 
title-pages,  frontispieces,  head  and  tail  pieces,  etc. 
There  are  hundreds  of  instances  in  which  the  text 
of  these  books  is  confirmed  by  the  presence  of  the 
original  manuscript  instrument  upon  which  it  was 
based,  and  also  further  confirmed  by  the  addition 
and  insertion  of  the  page  of  the  newspaper  an- 
nouncing the  event.  We  have  never  seen  so  much 
biographical  and  historical  information  as  has  been 
here  brought  chronologically  together  in  any  other 
two  works. 

Winthrop  Sargent's  "  Life  and  Career  of  Major 
Andre,"  large  paper,   from  one  volume  to  seven, 

1  Among  the  illustrations  of  this  work  may  be  mentioned  portraits  of  Ma- 
jor-generals Nathaniel  Greene,  Horatio  Gates,  Baron  DeKalb,  Israel  Put- 
nam, Francis  Marion,  Hugh  Mercer,  Thomas  Mifflin,  Henry  Knox,  the 
Marquis  de  Lafayette,  Joseph  Warren,  Baron  Steuben,  Anthony  Wayne, 
John  Stark,  Philip  Schuyler. 

213 


with  about  two  thousand  illustrations,  prints  and 
water-colors,  and  original  drawings,  chronologically 
arranged,  is  an  inimitable  book.  A  large-paper 
copy  of  Mary  L.  Booth's  "  History  of  New-York  " 
is  a  laborious  and  expensive  work  —  originally  in 
two  volumes,  now  eight  volumes,  folio.  Dr.  Fran- 
cis's "Old  New- York"  is  illustrated  up  to  five  vol- 
umes, octavo,  and  has  the  original  manuscript  of 
the  author,  in  one  extra  volume,  with  about  six 
hundred  and  twenty  choice  prints,  portraits,  and 
twenty-four  water-colors.  We  remark  also  "  Mary- 
land Historical  Series,"  in  thirty-four  volumes; 
Irving's  "Washington,"  extended  to  ten  volumes, 
octavo,  with  one  hundred  and  ten  portraits  of 
Washington;  and  "Biographical  Sketch  of  G.  C. 
Verplanck,"  by  Daly,  with  many  illustrations. 

Philip  Freneau's  "  Poems  "  is  extended  to  two 
volumes,  octavo,  with  two  hundred  prints,  besides 
head  and  tail  pieces.  These  poems  were  written 
during  the  Revolution,  and  were  noted  for  their 
satire.  "  Death  of  James  Wolfe,"  by  Sabine,  two 
hundred  and  fifty  prints,  octavo,  bound  by  Brad- 
street;  also  "The  Shippen  Papers,"  three  volumes, 
profusely  illustrated.  "Loyalist's  Poetry  of  the 
Revolution,"  by  Sargent,  one  volume,  is  extended 
to  two  by  a  beautiful  selection  of  illustrations, 
mostly  proof.  There  is  also  Henry  A.  Brown,  on 
the   "One  Hundredth  Anniversary  of  Carpenter's 

214 


Hall,  Philadelphia."  We  can  conceive  of  no  more 
beautiful  American  series  than  the  sixty-two  folios 
above  described. 

Dr.  Emmet's  career  as  an  illustrator  began  with 
Boydell's  "  Shakspeare."  The  nine  folio  volumes 
were  extended  to  twenty  volumes  by  the  insertion 
of  over  three  thousand  Shakspearian  characters  and 
views,  with  eighty  portraits  of  Shakspeare.  This 
is  a  stupendous  work.  There  will  never  be  an  end 
of  the  Shakspearian.  It  is  half-bound  in  crimson 
morocco  by  Bradstreet. 

But  the  most  significant  work  of  Dr.  Emmet's 
life,  in  books,  is  three  illustrated  volumes,  dedicated 
one  to  each  of  his  sons.  They  are  illustrated  by 
painted  portraits  in  miniature,  nearly  uniform,  and 
vignettes ;  also  with  autograph  letters  and  many 
water-color  views,  and  a  table  of  the  genealogy  of 
the  Emmet  family.  They  are  entitled,  respectively, 
"The  Life  of  Thomas  Addis  Emmet  and  His  Son, 
John  P.  Emmet :  Illustrated  by  Thomas  Addis 
Emmet  for  His  Son,  John  Duncan  Emmet";  "Life 
of  Thomas  Addis  Emmet :  Illustrated  by  Thomas 
Addis  Emmet  for  His  Son,  Thomas  Addis  Em- 
met"; and  "Life  of  Robert  Emmet:  Illustrated  by 
Thomas  Addis  Emmet  for  His  Son,  Robert  Emmet." 
They  are  profusely  and  elegantly  illustrated  with 
the  usual  extra  title  and  symbolic  devices.  We 
can    conceive    of  no    more   appropriate   memorial 

215 


from  a  father  to  his  sons  than  these  three  matchless 
volumes.  May  they  long  remain  the  Lares  and 
Penates  of  his  patriotic  family  ! 

The  preceding  sketch,  while  it  does  enumerate 
the  most  important,  does  not  include  all  the  illus- 
trated books  of  Dr.  Emmet.  How  he  managed  to 
accomplish  so  much  —  so  vast  an  amount  of  work — 
amid  the  complexities  of  an  extensive  medical  prac- 
tice is  a  mystery  to  all  his  overworked  friends.  He 
has  in  the  mean  time  produced  several  works  of  the 
highest  merit  on  medical  jurisprudence. 

Independently  of  the  foregoing,  Dr.  Emmet's 
library  contains  a  great  number  of  the  early  and 
rare  editions  of  American  historical  works.  He 
also  has  an  extensive  professional  library. 

The  fastidiousness  of  Samuel  P.  Avery  of  New- 
York  as  an  illustrator  is  too  well  known  by  the 
craft  to  require  any  indorsement  at  our  hands ;  he, 
however,  disclaims  the  offensive  title  of  Grangerite, 
and  we  thoroughly  concur  that  the  illustrator  of 
books  by  original  sketches,  and  water-color  draw- 
ings of  Meissonier,  Detaille,  Breton,  Corot,  De, 
Neuville,  and  others,  ranks  above  an  obsequious 
Grangerite.  But  Mr.  Avery  has  illustrated  and 
possesses  many  illustrated  books  coming  within  our 
subject  range. 

He  has  added  to  the  large-paper  copy  of  Alfred 
Sensier's   "Life  of  Jean    Frangois  Millet,"   Paris, 

216 


1 88 1,  about  one  hundred  and  twenty-five  etchings, 
lithographs,  photogravures  (after  Millet's  pictures), 
portraits,  and  autograph  letters  of  artists,  making  it 
a  work  of  the  highest  artistic  merit.  The  etchings 
are  by  many  artists,  as  Bracquenil,  Flameng, 
Cootry,  Le  Rat,  Lessore,  Hedouin,  and  some  of 
Millet's  own ;  he  has  also  illustrated  Sensier's 
"  Life  of  Rousseau,"  Paris  ;  "  Souvenirs  sur  M. 
Rousseau,"  par  Sensier,  Paris,  1872  ;  seventy 
etchings  added,  eight  after  Rousseau's  pictures  by 
himself,  Chauvel,  Greux,  Martial,  Gaucherel,  Le- 
fort,  Waltorer;  autograph  letters,  portraits,  etc. 
Paul  Gavarni,  "L'Homme  et  L'ceuvre,"  par  Ed- 
mond  and  Jules  de  Goncourt,  Paris,  1873,  about 
twenty  illustrations  added  (mainly  lithographs  by 
Gavarni),  extra  portraits,  autographs  also  by  Gon- 
court.    These  are  oeuvres  sans  tache. 

"  M.  Manet,"  par  Edmond  Bazire,  illustrations 
d'apres  les  originaux  et  gravures  de  Guerard, 
Paris,  1884,  with  extra  etchings  by  Manet,  Des- 
boutin,  Fracois  Bracquenil,  also  portraits  and  auto- 
graph letters. 

"  Golden  Apples  of  Hesperus,"  W,  J.  Linton, 
with  original  pencil  and  water-color  drawings  by 
the  author-editor,  views  of  his  house  at  Appledore, 
his  studio,  painting-room,  etc.  "At  the  Sign  of 
the  Lyre,"  by  Austin  Dobson,  London,  1885,  with 
nineteen  marginal  sketches  (aquarelles)  in  water- 
15  217 


color,  by  A.  Brennan.  Mr.  Avery  has  all  of  Lin- 
ton's books  illustrated ;  some  are  yet  unbound, 
others  are  bound  by  Alfred  Matthews,  Stikeman, 
and  Kauffman.  Here  is  also  a  copy  of  the  John 
Murray  edition  of  Washington  Irving's  "  Knicker- 
bocker," London,  1821-2;  bound  in  red  morocco, 
double  hand-tooled,  by  Charles  Murton.  It  con- 
tains an  autograph  of  Irving  as  follows: 

To  Mrs.  Thomas  Moore, 

From  her  sincere  friend, 

Washington  Irving. 
London,  July  //,  1S24. 

Mr.  Avery  has  made  of  his  copy  of  Washington 
Irving's  "Knickerbocker's  History  of  New-York" 
a  book  so  beautiful  that  it  has  taken  among  biblio- 
philes the  name  of  its  proprietor,  and  is  known  as 
Mr.  Avery's  "  Knickerbocker."  It  is  the  Grolier 
Club  edition,  extra-illustrated,  with  original  draw- 
ings in  the  text  and  paintings  on  the  edges  of  the 
volumes  by  George  H.  Boughton,  and  bound  by 
Zaehnsdorf  There  are  inserted  original  poems 
in  the  handwriting  of  Robert  Browning,  Andrew 
Lang,  William  Black,  and  Austin  Dobson. 

By  Mr.  Dobson,  in  first  volume: 

"  Shade  of  Herrick,  Muse  of  Locker, 
Help  me  sing  of  Knickerbocker  ! 
Boughton,  had  you  bid  me  chant 
Hymns  to  Peter  Stuyvesant ! 
218 


Had  you  bid  me  sing  of  Wouter, 
He,  the  onion-head,  the  doubter ! 
But  to  rime  of  this  one, —  Mocker  ! 
Who  shall  rime  to  Knickerbocker  ? 
Nay,  but  where  my  hand  must  fail, 
There  the  more  shall  yours  avail ; 
You  shall  take  your  brush  and  paint 
All  that  ring  of  figures  quaint  — 
All  those  Rip  Van  Winkle  jokers, 
All  those  solid-looking  smokers, 
Pulling  at  their  pipes  of  amber. 
In  the  dark-beamed  Council  Chamber. 
Only  art  like  yours  can  touch 
Shapes  so  dignified  .  .  .  and  Dutch ; 
Only  art  like  yours  can  show 
How  the  pine-logs  gleam  and  glow. 
Till  the  firelight  laughs  and  passes 
'Twixt  the  tankards  and  the  glasses, 
Touching  with  responsive  graces 
All  those  grave  Batavian  faces  — 
Making  bland  and  beatific 
All  that  session  soporific. 

"  Then  I  come  and  write  beneath, 
Boughton,  he  deserves  the  wreath ; 
He  can  give  us  form  and  hue  — 
This  the  Muse  can  never  do  !  " 

By  Robert  Browning,  also  in  first  volume: 

"  But  truth  —  truth  —  that  's  the  gold,  and  all  the  good 
I  find  in  fancy  is  —  it  serves  to  set 
Gold  —  inmost,  glint-free  —  gold  which  comes  up  rude 
And  rayless  from  the  mine.     All  fume  and  fret 

219 


Of  artistry  beyond  this  point  pursued 
Brings  out  another  sort  of  burnish  —  yet 

Always  the  ingot  has  its  very  own 

Value  —  a  sparkle  struck  from  truth  alone." 

By  William  Black,  in  second  volume  : 

"  Dear  Friend : 

"  Of  all  good  things  you  're  most  deserving, 
But  this  appeal  is  quite  un-Irving; 
The  only  Knickerbockers  I  know 
Are  those  made  up  and  sold  by  Kino  : 
And  where  the  link  twixt  New- York  History 
And  grouse  and  salmon,  that  's  the  mystery. 
I  give  it  up  :  I  have  no  text ; 
I  cannot  preach;  call  on  the  next." 

By  Andrew  Lang,  also  in  second  volume  : 

"Alma  Queis, 
How  I  wish  upon  the  whole 

I  'd  been  fated 
To  have  lived  where  not  a  soul 

Agitated  ! 
That  my  birth  had  but  occurred 

In  a  nation 
Where  they  did  not  know  the  word 

Demonstration  !  " 


Among-  the  foreign  binders  represented  in  Mr. 
Avery's  library  are  Meunier,  Paris  ;  Joly,  Paris ; 
Magnin,    Lyons;     Canape-Belz,    Paris;     Basquet, 

220 


Brussels;  Cuzin,  Paris;  Trautz-Bauzonnet,  Paris; 
Cobden-Sanderson,  London;  Cope,  Paris;  Amand, 
Paris;  Mrs.  Grosvenor,  London;  Niedree,  Paris; 
Pagnant,  Paris;  Carnage,  London;  and  many 
others. 


221 


CHAPTER  V. 

Garret  D.  W.  Vroom.  Charles  C.  Moreau. 
James  E.  Mauran.  Henry  T.  Cox.  Charles  C. 
Jones.  William  L.  Andrews.  Laurence  Hutton. 
E.  Bement.  William  A.  Eraser.  John  P.  Wood- 
bury. William  Donnes.  Charles  Turner.  Har- 
vey Nebe.  William  J.  Bruce.  Fred.  Holland 
Day.  a.  S.  Manson.  William  Matthews.  Wil- 
liam J.  Florence.  W.  E.  Field.  Hamilton  B. 
Tompkins.  William  H.  Arnoux.  Henry  T. 
Drowne.    Charles  E.  Banks. 


IVE  me  my  liar,"  said  Charles  V.,  when 
he  called  for  a  volume  of  history ;  and 
certainly  no  man  can  examine  the  annals 
of  past  periods  attentively  without  remarking,  if  not 
with  the  same  emphasis  as  Charles  V.,  that  almost 
every  incident  will    admit   of  two  interpretations, 

222 


and  by  judicious  packing  we  may  make  history 
pretty  nearly  what  we  please.  The  astonishing 
impulse  which  has  in  the  last  few  years  been  given 
to  the  searching  of  old  records  and  the  development 
of  hitherto  obscure  and  comparatively  uninteresting 
details  and  vesting  them  in  an  alluring  garb  of 
illustrative  art  has  made  some  of  our  local  annals 
very  complete  in  special  matters  and  the  most  at- 
tractive of  all  histories. 

The  histories  of  the  cities  of  Boston,  Philadelphia, 
New-York,  and  Charleston  may  be  cited  as  exam- 
ples of  this  illustrative  method.  The  records  of 
these  cities  and  family  documents  of  old  residents 
have  been  so  thoroughly  overhauled  in  the  crusade 
for  illustrations,  autographs,  manuscripts,  and  re- 
markable incidents  that  but  little  is  left  unutilized. 
Not  alone  the  archives  of  these  cities,  but  of  the 
whole  country,  and  even  of  foreign  countries  have 
been  laid  under  contribution  for  the  supply  of 
materials  ;  so  that  there  is  little  probability  at  the 
present  day  of  falsifying  their  histories  by  the  in- 
terpolation of  a  new  and  spurious  set  of  events  with- 
out antagonizing  the  present  mass  of  collected  and 
arranged  detail  in  the  hands  of  the  enthusiastic  col- 
lector. Their  histories  are  safe  from  vandalism. 
This  is  true  of  nearly  all  the  great  cities  and  great 
biographies  of  our  country;  some  loving  hand  is 
or  has  been  at  work  rescuing  historical  and  bio- 

223 


graphical  material  from  oblivion,  and  storing  it  up 
in  more  attractive  form  and  in  places  safer  from 
decay.  We  have  a  greater  knowledge  to-day  in 
detail  of  the  life  of  Washington  and  Franklin  than 
was  known  when  they  lived.  For  this  we  are 
indebted  to  the  collector. 

As  the  histories  of  nations  and  individuals  recede, 
the  so  (but  falsely)  called  minor  events  in  their  ca- 
reer are  lost  sight  of  and  forgotten.  Past  history, 
viewed  by  us  from  the  great  distance  we  are  removed 
from  it,  seems  like  one  continuous  struggle  of  battle, 
a  record  of  great  events  and  the  actions  of  great 
men  only.  All  this  is  a  delusion  :  the  arts  of  peace 
are  the  normal  and  war  is  the  abnormal  condition 
of  nations ;  and  great  events  are  but  the  combina- 
tion or  culmination  of  a  long  series  of  smaller  and 
by  far  more  important  ones,  which  have  sunk  out 
of  sight  —  results  only  remaining.  Who  cares 
now  for  the  vast  amount  of  revolutionary  detail  ex- 
tending over  a  great  number  of  years  which  led 
up  to  the  final  abolition  of  slavery  in  the  United 
States?  It  was  the  unrecorded  individualized  brav- 
ery of  the  rank  and  file,  not  the  great  general — he 
is  simply  an  accident  to  great  victories.  There  is 
more  to  fear  from  a  bad  commissariat  than  from 
the  guns  of  the  enemy. 

Through  the  print-  and  autograph-collector  we 
are  not  infrequently  able  to  fill  a  historical  hiatus  or 

224 


perfect  the  incompleteness  of  data,  and  what  is  thus 
being  specially  accomplished  by  one  for  history  and 
biography,  another  is  doing  for  art,  literature,  and 
all  other  departments  of  practical  knowledge  over 
which  this  passion  for  collecting  claims  jurisdiction. 
Autographs  are  regarded  by  many  persons,  even 
by  some  who  collect  them,  as  souvenirs  of  indi- 
viduals only,  and  are  not  considered  as  having  any 
very  important  historical  significance.  But  this  is  an 
error  :  they  are  the  ligatures  without  which  many 
events  in  history  would  stand  unrelated.  Suppose 
we  take  the  autograph  of  Bonaparte  made  about 
the  time  he  was  in  Toulon  (1793);  it  is  in  a  good 
round,  painstaking  hand,  Bournaparte,  indicative 
of  leisure,  and  can  be  read  by  any  one.  Take  an- 
other, after  a  lapse  of  twenty-three  years,  just 
before  Waterloo,  181 5  ;  the  last  is  a  mere  scrawl, 
absolutely  unreadable ;  there  is  not  the  form  of  a 
letter  in  it  ■«—  it  was  written  with  the  rapidity  of 
lightning,  just  as  events  were  transpiring  about 
him.  With  these  facts  the  scrawl  begins  to  assume 
significance ;  and  with  a  knowledge  of  the  career 
of  Bonaparte,  and  the  intervening  signatures,  we 
are  enabled  to  trace  its  degeneracy.  During  this 
period  of  twenty-three  years  Bonaparte's  signa- 
ture underwent  thirty-two  radical  transmutations ; 
in  the  proportion  that  events  thickened  around  him 
did  he  become  regardless  as  to  his  signature. 

225 


The  first  change  from  the  Toulon  signature  was 
when  he  was  in  Italy  with  the  army  ;  again  when  in 
Egypt ;  then  as  First  Consul,  and  as  Emperor. 
Had  all  the  intervening  forms  of  that  signature 
been  destroyed,  the  scaffolding,  so  to  speak,  pulled 
down,  the  scrawl  could  never  have  been  identified 
as  the  handwriting  of  Bonaparte  from  the  standard 
of  his  1793  autograph.  But  the  collector  comes  to 
the  rescue,  and  produces  a  nearly  complete  series 
of  these  signatures  from  the  Toulon  signature  to 
Waterloo,  and  we  believe  it  possible  to  obtain  an 
entire  set  of  thirty-two,  sufficient  to  remove  all 
doubt  which  may  ever  arise  as  to  the  genuineness 
of  any  document  purporting  to  have  been  issued 
or  executed  by  him  during  that  period.  The 
largest  collection  of  this  series  of  Bonaparte  au- 
tographs known  to  us  is  that  of  W.  C.  Crane,  of 
New-York,  who  has  twenty-one,  secured  at  great 
expense,  each  being  a  signature  to  a  document  of 
great  historical  moment.  These  signatures  are 
more  than  mere  coincidents  of  events;  they  are  the 
events  themselves ;  and  an  entire  set  would  be  a 
confirmation  and  a  record  of  the  gradual  degen- 
eracy of  the  Bonaparte  signature. 

More  thoroughly  to  demonstrate  the  significance 
of  autographs,  both  as  souvenirs  and  as  confirm- 
atory, frequently,  of  the  events  of  history,  and  the 
establishment  of  disputed    data,   we    refer  to   the 

226 


privately  illustrated  books  of  Hon.  Garret  D.  W. 
Vroom,  of  Trenton,  New  Jersey.  The  dual  char- 
acter of  the  illustrations  of  these  books,  being  by 
both  prints  and  autographs,  and  then  their  high 
order  as  historical  and  biographical  works,  qualify 
them  specially  for  this  ordeal ;  among  which  im- 
mediately pertinent  to  this  inquiry  is  Theodore 
Sedgwick's  "Life  of  Gov.  William  Livingston,"  ex- 
tended to  two  volumes,  with  two  hundred  and  fifty 
prints  and  drawings.  A  great  deal  of  care  has 
been  bestowed  upon  the  illustrating  of  this  work. 
It  contains  the  full  set  b,  b.  e.  prints  published  by 
Williamson,  including  the  scarce  Charles  Thompson 
and  Silas  Dean  portraits ;  pen-drawings  of  Lord 
Cornbury,  Robert  Livingston,  Rev.  Samuel  Cooper 
of  Boston,  Dr.  S.  Dick,  Richard  Smith,  M.  Gerard, 
Isaac  Collins,  Joel  Barlow,  engraved  by  Anderson, 
and  many  other  rare  portraits.  There  are  also 
thirty  autograph  letters  of  the  greatest  historical 
significance  inserted  in  this  work,  among  which 
are  letters  from  Robert  Livingston  of  New-York, 
1748;  letters  of  Lieutenant-governor  James  De 
Lancey  to  Gouverneur  Morris,  1 755,  in  acknowledg- 
ment of  the  receipt  of  General  Braddock's  des- 
patches ;  letter  of  Courtlandt  Skinner,  acting 
governor  of  the  colony  of  New  Jersey,  afterward 
brigadier-general  of  the  Loyalists,  1775;  auto- 
graph letter  of  Richard  Smith,  member  of  Congress 

227 


from  New  Jersey,  to  Charles  Pettit,  1777;  also 
letter  from  William  Peartree  Smith  to  Governor 
Livingston,  1776;  letter  of  John  Hart,  one  of  the 
signers,  1776,  an  important,  beautiful,  and  rare  spe- 
cimen ;  letter  from  General  William  Maxwell  to 
Colonel  Israel  Shrear,  New  Jersey,  1776;  General 
Israel  Putnam  to  General  David  Forman,  Prince- 
ton, 1777;  Joseph  Galloway,  i  769  ;  Henry  Laurens, 
President  of  the  Continental  Congress,  to  Gover- 
nor Livingston,  dated  Yorktown,  1776;  General 
John  Sullivan  to  General  Forman,  1777;  and  one 
of  Walter  Livingston,  member  of  Congress ;  the 
original  protection  given  to  Anthony  Woodward 
by  General  Howe,  1776,  signed  by  F.  Knight, 
aide-de-camp,  and  Von  Munchausen,  adjutant;  let- 
ters of  David  Brearley  and  Nathaniel  Scudder,  both 
members  of  Congress  from  New  Jersey;^  William 
Livingston's  letter  to  Elias  Boudinot,  President  of 
Congress.  All  of  the  above  are  autograph  letters 
signed,  and,  being  from  patriotic  men  upon  public 
affairs  at  a  political  crisis  of  the  country,  cannot 
be  otherwise  than  of  great  historical  and  politi- 
cal importance,  and  stamp  with  the  seal  of  abso- 
lute certainty  many  historical  events  which  were 
heretofore  accepted  with  much  doubt.  This  work 
of  Mr.  Vroom  not  only  occupies  an  honored  place 

1  Mr.  Vroom  has  the  autographs  of  twenty-six  of  the  Signers  of  the  Decla- 
ration, twelve  of  which  are  a.  1.  s.,  the  others  are  1.  s.  and  d.  s.  He  also  has 
a  great  number  of  letters  of  the  Revolutionary  period. 

228 


in  the  commonwealth  of  books,  but  it  estabHshes 
the  importance  of  autographs  as  historical  mentors 
beyond  the  realm  of  hypothesis.  It  is  half-bound 
in  dark-blue  crushed  levant  by  Hadden. 

The  next  work  is  Winthrop  Sargent's  "Life  of 
Major  John  Andre,"  large  paper,  extended  to  four 
volumes.  Then  "  Life  of  Isidore  Robespierre,"  by 
George  H.  Lewes,  extended  to  two  volumes  by  the 
insertion  of  two  hundred  and  fifty  prints,  portraits, 
etc.,  half-bound  in  red  crushed  levant  by  Hadden  ; 
among  its  contents  are  twenty-four  views,  scenes, 
namely,  Siege  de  la  Bastille,  par  Sillier,  1789;  La 
Nationale  Assemblee ;  La  Federation  et  le  Champ 
de  Mars ;  Funeral  of  Mirabeau  in  the  Church  of 
St.  Eustache  ;  Arrest  of  the  King  at  Varennes  ; 
The  People  at  the  Tuileries,  the  loth  of  August, 
1792;  proof  portraits  of  Dupont-Pompadour,  La- 
voisier, Charles  I.,  Barbaroux,  Saint  Just,  and 
three  of  Robespierre.  There  are  besides  these  ten 
other  portraits  of  Robespierre ;  also  many  prints, 
after  drawings  from  life,  by  Gabriel,  of  Andre, 
Dumont,  Bussot,  Herbert,  Henriot,  and  Leonard 
Bourdan,  and  portraits  of  nearly  all  the  characters 
mentioned  in  the  book.  Also  "Memoirs  of  Madame 
Junot,  Duchesse  d'Abrantes,"  extended  from  three 
to  six  volumes,  with  over  six  hundred  prints,  largely 
American.  Charles  H.  Hunt's  "  Life  of  Edward 
Livingston,"  large  paper,  extended  to  two  volumes, 

229 


many  prints  and  autographs.  "  The  Salon  of  Ma- 
dame Susanne  Necker,"  by  Vicomte  De  Hausson- 
ville,  Trollope's  translation,  two  volumes,  with  one 
hundred  and  seventy-five  illustrations  —  four  views 
in  Lausanne,  two  in  Geneva,  Chateau  de  Fernay, 
Chateau  de  Madrid  in  the  Bois  de  Boulogne,  Tomb 
of  Rousseau,  and  many  others.  There  are  three 
portraits  of  Madame  Necker,  six  of  Necker,  and 
six  of  Madame  de  Stael,  Duchesse  de  Broglie, 
three  of  Gibbon,  Mademoiselle  Scudery,  Madame 
d'Epinay,  Mademoiselle  de  I'Espinasse,  Madame 
Geoffrin,  Mademoiselle  Clairon,  Madame  Lambert, 
Marechale  de  Luxembourg,  Marquise  de  Boufflers, 
Madame  du  Deffand,  Helvetius,  Gerard,  Baron 
d'Holbach,  Marmontel,  Gluck,  Morellet,  d'Alembert, 
Targot,  Walpole,  Buffon,  and  many  others.  These 
volumes  are  in  red  levant,  by  Hadden.  An  inter- 
esting feature  of  these  volumes  is  an  inscription 
made  by  the  author,  Vicomte  De  Haussonville, 
upon  one  of  the  fly-leaves  of  the  book  when  he 
was  in  Trenton  in   1890,  as  follows: 

"  Tres  fier  d'inscrire  son  nom  sur,  ce  livre  que  les  gravures 
qu'il  contient  rendent  si  interessent." 

Haussonville. 
Oct.  7,  1890. 

This  little  work  is  a  graceful  and  piquant  narra- 
tive. It  is  never  dull,  never  flippant,  self  is  never 
obtruded  in  the  conceited  way  often  indulged  in 

230 


by  privileged  favorites  and  nearly  always  offen- 
sive. The  intention  of  the  book  is  to  entertain 
rather  than  to  instruct,  although  there  is  little  in- 
deed said  in  the  book  which  is  not  well  worth 
remembering. 

Mr.  Vroom  has  also  illustrated  James  North - 
cote's  "Conversations,"  by  Hazlitt,  extending  it  to 
two  volumes;  also  John  Thomas  Smith's  "Book 
for  a  Rainy  Day,"  extended  to  two  volumes;  "Rem- 
iniscences of  Daniel  Webster,"  large  paper,  also  in 
two  volumes. 

Jules  Claretie's  "  Camille  Desmoulins  and  his 
Wife,"  and  Octave  Uzanne's  "Frenchwoman  of  the 
Century,"  are  all  elaborately  illustrated.  "The  His- 
tory of  the  Presbyterian  Church  of  Trenton,  New 
Jersey,"  by  Dr.  Hall.  Among  the  views  inserted  in 
this  work  are  The  Old  Barracks  at  Trenton  ;  The 
Old  Bridge  over  the  Delaware;  Plan  of  John  Fitch's 
Steamboat,  1786;  Colonel  Rahl's  Headquarters; 
Views  of  the  Old  Churches ;  The  Hermitage,  resi- 
dence of  General  Phil  Dickinson,  etc.  ;  portraits 
of  Whitefield,  Baxter,  Jonathan  Edwards,  Rev. 
Aaron  Burr,  Dr.  Ashbel  Green,  Rev.  E.  D.  Griffin, 
Dr.  Samuel  Davis,  Rev.  Gilbert  Tennent,  Dr. 
Alex.  Macwhorter,  Dr.  John  Rogers,  Prest.  Ezra 
Stiles,  Samson  Occum,  Dr.  Alexander,  Rev.  Dr. 
Duffield,  Dr.  How,  etc. ;  also  many  portraits  of 
those  who  were  prominent  in  colonial  and  revolu- 

231 


tionary  times ;  there  are  also  many  autograph 
letters,  the  last  bound  by  Wesley. 

Here  is  also  Tiffin's  "Gossip  about  Portraits," 
very  neatly  illustrated;  also  Trollope's  "Life  of 
William  Makepeace  Thackeray";  Leslie  Stephen's 
"  Dr.  Samuel  Johnson  ";  Lewes's  "Life  of  Johann 
Wolfgang  Goethe,"  and  a  great  many  others. 

We  have  referred  briefly  to  some  of  the  works  of 
this  very  discreet  collection,  and  elaborated  upon 
others  because  they  are  unique  and  of  greater  his- 
torical importance.  New  Jersey  was  the  Ther- 
mopylse  of  early  American  periods,  and  her  local 
histories  of  those  times  are  not  infrequently  inter- 
spersed with  characters  and  events  of  much  general 
and  national  interest. 

There  are  men  whose  indefatigable  energy  and 
endurance  seem  to  be  eternal.  Of  such  is  Mr. 
Charles  C.  Moreau,  of  New-York,  who  has  been 
collecting  prints  and  forming  illustrated  books  for 
over  forty  years.  Mr.  Moreau's  great  success  as 
an  illustrator  has  been  due  largely  to  the  enthusi- 
asm of  Mrs.  Moreau,  whose  good  taste  and  good 
judgment  pervade  his  entire  illustrated  library. 
The  first  impulse  given  in  this  direction  was 
on  seeing  John  Allan's  collection.  Mr.  Moreau 
has  illustrated  the  Bradford  Club  edition  of  "The 
Croakers,"  extending  it  to  two  volumes,  folio,  by 
the   insertion    of  one    hundred    and    eighty-seven 

232 


prints,  autograph  letters,  and  the  original  manu- 
script preface  by  E.  A.  Duyckinck ;  Fitz-Greene 
Halleck's  "  Poetical  Works,"  extended  to  two  vol- 
umes, quarto,  by  two  hundred  and  twenty-six 
prints  and  autograph  letters  ;  "  Memorial  of  Wash- 
ington," by  Irving,  seventy-five  prints,  twenty-five 
different  portraits  of  Irving;  *' Life  of  Benjamin 
Franklin,"  Parton,  ten  volumes,  eight  hundred  and 
twenty-five  illustrations  ;  "  Life  of  Thomas  Gray," 
Gosse,  two  volumes,  two  hundred  and  fifty  illustra- 
tions;  "  Relics  of  Genius,"  Grimsted,  three  volumes, 
four  hundred  and  fifty-two  illustrations;  "Literary 
Landmarks  of  London,"  Hutton,  four  volumes,  five 
hundred  and  eighty-one  illustrations ;  William 
Dunlap's  "History  of  the  American  Stage,"  ex- 
tended to  four  volumes,  over  three  hundred  prints 
added;  "Memorial  of  Alexander  Anderson,  First 
American  Wood-Engraver,"  two  copies,  three  hun- 
dred prints  inserted,  many  rare  woodcuts  by  An- 
derson and  other  early  American  engravers.  Mr. 
Moreau  has  also  illustrated  Dr.  Francis's  "  Old 
New-York,"  extending  it  to  seven  volumes,  quarto, 
by  one  thousand  prints;  also  Irving's  "Life  of 
Washington,"  quarto,  containing  upward  of  four- 
teen hundred  prints,  in  ten  volumes,  and  two  sup- 
plementary volumes,  containing  upward  of  six 
hundred  different  portraits  of  Washington  ;  Duy- 
ckinck's  "  Cyclopaedia  of  American  Literature,"  in 
''  233 


fourteen  volumes,  quarto,  with  eighteen  hundred 
prints  and  autograph  letters;  Benson  J.  Lossing's 
"  Our  Country,"  extended  to  ten  volumes,  upward 
of  fifteen  hundred  prints;  Ireland's  "Records  of 
the  New-York  Stage,"  fifteen  volumes,  three  thou- 
sand illustrations;  "  Actors'  Series,"  eight  volumes, 
eleven  hundred  illustrations  ;  "  Lester  Wallack  and 
Wallack  Family,"  four  volumes,  eight  hundred  il- 
lustrations;  "Memoir  of  John  Keese,"  by  Keese, 
one  hundred  and  twenty  illustrations;  "  Negro  Min- 
strels," three  volumes,  four  hundred  and  fifty  illus- 
trations ;  "Our  Actors  and  Actresses,"  Cassell 
series,  twenty-three  volumes,  twenty-seven  hun- 
dred illustrations  ;  Tuckerman's  "  Book  of  Artists," 
octavo,  extended  to  four  volumes,  five  hundred  en- 
gravings. But  the  greatest  of  all  the  works  of  Mr. 
Moreau  is  the  "  Records  [not  Ireland's]  of  the  New^- 
York  Stage  from  the  Earliest  Date  to  the  Present 
Time."  Of  this  gigantic  work  he  has  forty  quarto 
volumes,  illustrated  by  nearly  nine  thousand  prints, 
playbills,  and  autograph  letters.  This  is  truly  a 
wonderful  work,  and  as  a  record  it  is  probably  the 
completest  in  existence.  We  also  find  in  this 
unique  collection  of  Americana  Disosway's  "  Ear- 
liest Churches  of  New-York,"  two  volumes,  one 
hundred  and  twenty-three  prints  ;  "  Maud's  Visit  to 
Niagara  Falls,"  with  three  hundred  different  views 
of  the  Falls;     "Century  of  Painters,"   Redgrave, 

234 


fourteen  volumes,  eighteen  hundred  prints;  "Life 
of  Stothard,"  Bray,  six  volumes,  eight  hundred 
and  eighty-three  illustrations;  "  Curiosities  of  the 
American  Stage,"  Hutton,  three  volumes,  two  hun- 
dred and  seventy  illustrations;  "Book  of  Days," 
twelve  volumes,  thirteen  hundred  and  fifty  illustra- 
tions;  Tom  Taylor's  "Recollections  of  Charles  R. 
Leslie,  the  Artist,"  ninety-six  prints;  "Richard 
Rush's  Residence  at  the  Court  of  London,"  ninety- 
two  prints;  "Obsequies  of  Abraham  Lincoln,"  by 
the  New-York  Common  Council,  one  hundred 
prints  inserted;  Moore's  "Diary  of  the  American 
Revolution";  "  W.  C.  Bryant  and  His  Literary 
Companions,"  three  volumes,  three  hundred  and 
eighty-eight  illustrations;  "Irving  Memorial," 
Duyckinck,  two  volumes,  two  hundred  and  forty- 
three  illustrations;  "Pursuits  of  Literature,"  Mathias, 
four  volumes,  four  hundred  and  fifty  illustrations ; 
"Music  in  New-York,"White,  four  volumes,  six  hun- 
dred illustrations ;  "History  of  the  New- York  Stage," 
1860-70,  Hagan,  eight  volumes,  sixteen  hundred 
illustrations;  "Before  and  Behind  the  Curtain," 
Northall,  one  hundred  and  fifty-seven  illustrations  ; 
"  Henry  Irving,"  two  volumes,  one  hundred  and 
sixty  illustrations;  "W.  E.  Burton,"  Keese,  two  vol- 
umes, one  hundred  and  ninety  illustrations;  "Mono- 
graph on  Privately  Illustrated  Books,"  Tredwell, 
first  edition,  one  hundred   and   seventeen  prints ; 

235 


besides  "Mary  Anderson";  "John  Gilbert";  "John 
Brougham  "  ;  "Jenny  Lind";  "  Memoir  of  George 
Holland";  "Theaters  of  Paris";  "Records  of 
Booth's  Theater";  "Standard  Theater";  "Park 
Theater";  "Count  Joannes";  "Union  Square 
Theater";  "  Daly's  Theater,"  and  about  two  hun- 
dred other  privately  illustrated  volumes.  These 
books  are  more  than  usually  interesting,  inasmuch 
as  Mr.  Moreau  commenced  many  years  ago,  in- 
venting his  own  method,  from  which  he  has  never 
departed,  notwithstanding  the  innovation  of  more 
stylish  methods.  He  has  about  three  hundred  and 
sixty  privately  illustrated  books  in  his  collection, 
entirely  the  work  of  his  own  hands.  He  has  inlaid 
over  fifty  thousand  prints/ 

There  is  in  the  possession  of  Mr,  James  E. 
Mauran,  of  Newport,  Rhode  Island,  a  magnificent 
work,  the  product  of  his  own  industry  and  taste.    It 

1  Much  sly  invective  has  at  times  escaped  the  English  press  in  its  criticisms 
on  what  it  has  been  pleased  to  call  American  toadyism  in  privately  illus- 
trating American  history.  But  nothing  yet  produced  in  America  will  compare 
with  a  copy  of  Granger,  extended  to  seventeen  volumes  by  the  insertion  of 
six  thousand  portraits  of  Englishmen,  and  another  to  fourteen  volumes  ;  there 
are  nineteen  thousand  prints  and  drawings  in  the  Clarendon  and  Burnet ; 
seven  hundred  and  thirty-one  portraits  of  Charles  I. ;  five  hundred  and 
eighteen  of  Charles  II. ;  three  hundred  and  fifty-two  of  Cromwell ;  two  hun- 
dred and  seventy-three  of  James  II. ;  four  hundred  and  twenty  of  William  III. 
No  American  toadyism  can  equal  this.  During  the  past  year  (1890)  that  monu- 
ment of  high-class  labor,  "  History  of  Brazil,"  sold  for  $40  ;  $125  was  paid 
for  "  Illustrated  Punch  and  Judy";  $150  for  "  Sketches  by  Boz  " ;  but  the 
most  stupendous  example  of  English  folly  was  the  rage  for  the  first  editions  of 
Charles  Lever's  works  —  one  sold  for  $1375.  Eleven  numbers  of  the  "Snob" 
and  eighteen  numbers  of  the  "  Yellowplush  "  satirical  journals  of  Thackeray 
fetched  $725.  twice  as  much  as  the  printer  received  for  the  whole  edition. 

236 


is  Sir  John  Froissart's  "Chronicles  of  England, 
France,  and  Spain,  and  the  Adjoining-  Countries." 
The  original  work  was  in  two  volumes,  royal  octavo, 
which  he  has  illustrated  and  extended  to  twelve 
volumes,  quarto,  by  the  addition  of  thirteen  hun- 
dred*  and  fifty-six  illustrations,  of  which  fifty  are 
illuminations  of  his  own  painting,  and  two  hundred 
colored  from  books  ;  the  remainder  are  prints,  por- 
traits, and  views.  The  paper  upon  which  some  of 
the  engravings  are  printed  bears  the  water-mark  of 
the  fourteenth  century,  thus  determining  the  ques- 
tion of  authenticity.  Each  volume  has  an  illumi- 
nated title-page  of  Mr.  Mauran's  own  composition. 
He  has  also  illustrated  the  "  Life  of  Francisco  Pe- 
trarca  "  :  of  this  beautiful  book  he  has  two  sets;  also 
"  Reviews  "  of  the  various  editions  of  "  Petrarch,"  il- 
lustrated; "Reviews"  of  the  editions  of  "Chaucer";  ^ 
Louisa  Stuart  Costello's  "Early  Poetry  of  France, 
from  the  Times  of  the  Troubadours  and  Trouveres 
to  the  Reign  of  Henry  Fourth,"  two  sets ;  "Life  of 
Johanna  of  Naples";  "  Ivanhoe  "  ;  "Agnes  Sorel"; 
Pope's  "  Rape  of  the  Lock,"  inlaid  to  royal  quarto, 
with  many  proof-prints,  bound  by  Tarrant ;   "  His- 

1  Chaucer,  the  man  of  vicissitudes,  we  find  alternately  in  King  Edward's 
army,  in  the  king's  train,  husband  of  a  queen's  maid  of  honor,  a  prisoner,  a 
place-holder,  a  deputy  in  Parliament,  a  knight.  Moreover,  he  was  in  the 
king's  council ;  brother-in-law  to  the  Duke  of  Lancaster;  employed  in  open 
and  secret  missions  at  Florence,  Cienoa,  Milan,  and  Flanders ;  high  up  and 
low  down  in  the  political  ladder,  disgraced  and  restored.  He  had  conversed 
with  Petrarch,  Boccaccio,  and  Froissart,  and  was  actor  in  and  spectator  of 
the  finest  and  most  tragical  dramas. 


tory  of  Flagellation, "  etc.     All  of  the  above  are 
finely  conditioned  volumes. 

Upon  a  little  close  observation  of  men  of  literary 
tastes,  or  bookmen,  we  can  make  a  diagnosis  of 
the  case,  ad  hominem,  and  determine,  with  a  fair 
degree  of  certainty,  which  of  the  standard  works  — 
"  Dibdin,"  Boswell's  "Johnson,"  "  Izaak  Walton," 
"Nell  Gwyn,"  Ireland's  "Stage,"  Irving's  "Wash- 
ington," "  Old  New-York,"  or  the  "  Signers 
of  the  Declaration  " —  would  probably  allure  its 
votary  into  the  greatest  extravagance,  should  he 
fall  a  victim  to  this  malady ;  for  a  man  may  be  as 
distinctly  known  by  the  books  he  reads  as  by  the 
company  he  keeps.  A  companionship  of  good 
books,  as  certainly  as  a  companionship  of  good 
men,  is  an  esthetic  sanctuary  and  a  moral  bulwark. 
As  Wordsworth  says  : 

Books,  we  know, 
Are  a  substantial  world,  both  pure  and  good. 
Round  which,  with  tendrils  strong  as  flesh  and  blood, 
Our  pastime  and  our  happiness  can  grow. 

No  parade  of  ceremony  is  necessary  in  introdu- 
cing the  collection  of  privately  illustrated  books  be- 
longing to  Henry  T.  Cox,  Esq.,  of  Brooklyn,  to  the 
readers  of  this  volume.  It  is  known  to  possess  the 
highest  merit.  The  first  work  from  this  collection 
presented  for  our  consideration  is  a  matchless  copy 

238 


of  Walton's  "Complete  Angler."  It  is  not  strange 
that  Mr.  Cox  should  have  been  captivated  by  the 
amiable  kindly  nature  which  breathes  through  every 
page  of  this  book,  "  its  communion  with  nature,  in- 
haling her  freshest  influences  and  partaking  insensi- 
bly of  her  unaffected  graces,"  by  the  genial  spirit  of 
contentment  and  repose  which  it  inspires,  and  by 
its  simplicity  of  style,  so  agreeable  to  the  man  of 
culture.  Mr.  Cox  read  the  gentle  "  Izaak,"  and,  se- 
duced by  the  brilliant  example  of  the  illustrated  first 
quarto  edition  of  "  Bagster,"  by  Symond  Higgs, 
with  three  hundred  proof-prints  and  drawings,  and 
bound  by  the  peerless  Gosden,  caught  the  malady 
and  has  sinned. 

He  has  extended  the  two  original  imperial  octavo 
volumes  to  seven  by  the  insertion  of  seventeen 
hundred  and  sixty-five  portraits,  views,  and  original 
water-colors.  The  title-pages  of  these  marvelous 
books  are  original  water-colors,  executed  from  de- 
signs by  Darley.  The  cost  of  the  work  is  the 
secret  of  its  owner.  We  can  only  say  it  is  a  lux- 
ury the  indulgence  in  which  nothing  short  of  a 
golden  Chersonesus  or  the  yield  of  an  Eldorado 
can  survive. 

The  illustrations  are  divided  as  follows :  There 
are  four  hundred  and  seventy-nine  portraits,  nine 
hundred  and  twenty  views,  one  hundred  and  sev- 
enty-three full-page  original  water-color  drawings, 

239 


forty-nine  pen-and-ink  sketches,  one  hundred  and 
forty-one  fish  subjects,  colored  and  plain,  and  three 
Turner's  "  Liber  Studiorum."  These  volumes  are 
bound  by  Stikeman  &  Co.  in  sea-green  crushed 
levant,  with  crimson  silk  fly-leaves,  crimson  double, 
with  emblematical  tooling.  We  do  not  know  which 
most  to  admire,  the  out-  or  inside  of  these  volumes. 

The  next  book  is  "  Don  Quixote  "  of  Louis  Viar- 
dot,  in  two  volumes,  illustrated  by  Gustave  Dore, 
extended  to  four  volumes  by  the  addition  of  several 
hundred  choice  engravings,  including  an  India- 
proof  set  of  the  series  of  Robert  Smirke,  with  du- 
plicate set  of  artist  proofs  with  the  vignettes ;  the 
series  of  Charles  Coypel ;  the  celebrated  series  of 
Henry  Aiken ;  a  series  by  Eugene  Lami,  artist 
proofs,  with  duplicate  impressions ;  and  bound  by 
Chambolle  Duru  in  full  russet  levant,  crushed  and 
polished,  1863. 

"English  Bards  and  Scotch  Reviewers,"  one 
volume,  extended  to  two  by  the  addition  of  four 
hundred  and  six  portraits  and  views.  This  work 
was  purchased  by  Mr.  Cox  at  the  John  Allan  sale, 
and  has  been  by  him  greatly  extended  by  the  addi- 
tion of  many  rare  mezzotint  portraits,  besides  those 
selected  by  Mr.  Allan.  It  contains  a  portrait  of 
Byron  when  a  boy,  with  a  bow  and  arrow.  It  is 
bound  in  crimson  crushed  levant,  blue  watered-silk 
inside,  by  Stikeman  &  Co. 

240 


"  Horace  Walpole  and  his  World."  This  work  is 
especially  adapted  for  fine  illustrating,  of  which  Mr. 
Cox  has  availed  himself  to  make  this  one  of  his 
grandest  achievements.  Horace  Walpole  was  a 
man  of  highly  polished  tastes,  and  the  inheritor 
of  a  name  the  most  popular  in  Europe.  His 
early  associates  were  not  only  noblemen,  but 
literary  noblemen ;  and  he  was  petulantly  ambi- 
tious to  bear  the  title  of  author,  when  he  saw 
Lyttleton,  Chesterfield,  and  other  peers  proud  of 
wearing  the  blue  riband  of  literature.  But  he 
was  no  genius,  and  his  characters  are  not  always 
to  be  relied  upon.  This  work,  originally  in  one 
volume,  has  been  inlaid  by  Trent  to  folio,  and  ex- 
tended to  four  volumes  by  the  insertion  of  sixteen 
hundred  and  sixty-one  illustrations,  after  Sir  Joshua 
Reynolds,  Sir  Thomas  Lawrence,  and  others.  There 
are  eleven  hundred  and  twenty-seven  portraits  in 
the  work,  of  which  one  hundred  and  eighty  are  full- 
page  mezzotints,  several  of  Nell  Gwynne,  Peg  Wof- 
fington,  Mrs,  Abington,  Mrs.  Jordan,  Mrs.  Siddons, 
Mrs.  Oldfield,  and  many  others ;  four  hundred  and 
ninety-eight  views,  plain  and  colored,  twenty-six 
full-page  water-color  drawings  by  Major  Cronin, 
and  eleven  autograph  letters  of  Walpole  and  others; 
bound  by  Stikeman  &  Co.  in  crimson  crushed  le- 
vant, inside  panels  of  green  watered  silk,  and  leaves 
of  the  same  material.     We  dismiss  these  volumes, 

241 


conscious  that  no  amount  of  verbal  sketching  can 
convey  an  adequate  idea  of  their  magnificence. 

"A  Pilgrimage  to  Stratford-upon-Avon,"  one 
volume,  extended  to  folio,  and  illustrated  by  one 
hundred  and  eight  portraits  of  Shakspeare,  includ- 
ing the  rare  old  mezzotint  by  Simon ;  also  mezzo- 
tints of  Garrick,  Dr.  Arne,  Mrs.  Yates,  Siddons, 
Kemble,  Kean,  King,  and  others  ;  bound  by  Alfred 
Matthews. 

"Vicar  of  Wakefield,"  Goldsmith;  extra-illus- 
trated by  twelve  rare  portraits  of  Goldsmith,  and 
one  hundred  and  three  other  portraits,  including 
Rowlandson's  colored  series,  theWestall,  the  Stoth- 
ard,  and  the  French  series. 

Rev.  Joseph  Spence,  prebendary  of  Durham  Ca- 
thedral: "Anecdotes,  Observations,  and  Characters 
of  Books  and  Men  "  —  the  privately  printed  edition, 
extended  from  one  to  three  volumes,  folio,  by  the 
insertion  of  over  two  hundred  and  twenty  portraits 
and  views,  including  forty  different  portraits  of 
Pope,  in  proof  and  engraver's  proof;  bound  by 
Riviere,  in  full  crimson  grosgrained  levant. 

Mr.  Cox  has  also  illustrated  a  large-paper  copy 
of  the  "  Letters  of  Madame  de  Sevigne,"  who, 
according  to  Lamartine,  was  the  representative 
woman  of  the  seventeenth  century.  Her  letters 
rank  as  models  in  the  world  of  epistolary  litera- 
ture  to-day.     This  work  is   extended  to  fourteen 

242 


volumes  by  seven  hundred  and  fifty  extra  illustra- 
tions, chiefly  proofs,  many  in  three  stages,  elegantly 
bound  in  crimson  levant  by  Bertrand,  London,  and 
ornamented  in  mosaic  outside. 

And  now  we  have  "Qiuvres  de  Nicolas  Boileau- 
Despreaux,"  the  friend  and  companion  of  Racine 
and  La  Fontaine,  illustrated  by  the  following  emi- 
nent engravers :  of  Edelinck  there  are  twenty- 
four  examples;  of  Lubin,  nineteen;  Van  Schuppen, 
eleven ;  Nanteuil,  twenty-three  ;  Picart,  eight ; 
Drevet,  six;  De  Launay,  six;  Ficquet,  three;  Mas- 
sard,  two ;  Masson,  two ;  Audouin,  Tunonneau, 
Dien,  Beauvalet,  Beza,  Giffart,  Gunst,  Audran, 
Thomassin,  Vermeulen,  Bauder,  Drouet,  and  many 
others ;  also,  original  drawings  by  Marrilier,  Pi- 
cart,  etc.,  done  expressly  for  the  work,  with  etchings 
from  the  same ;  also,  six  series  of  sepia  and  India- 
ink  drawings;   bound  by  Chambolle  Duru. 

"  The  Pilgrim's  Progress,"  John  Bunyan,  extra- 
illustrated  by  eleven  portraits  of  Bunyan,  a  large 
proof  on  India  paper  by  Sharp,  and  the  Cruik- 
shank  etching  of  "Vanity  Fair";  also,  the  Stothard 
and  Westall  and  the  French  series ;  bound  by  Al- 
fred Matthews,  in  russet  levant. 

"  Life  of  Thomas  Stothard,"  by  Mrs.  Bray,  ex- 
tended from  one  volume,  quarto,  to  three  volumes, 
folio,  by  the  addition  of  five  hundred  and  sixty-eight 
engravings  ;   bound  by  Tout. 

243 


"  David  Copperfield,"  by  Charles  Dickens,  one 
volume,  octavo,  original  edition,  illustrated  by  fif- 
teen original  water-color  drawings.  The  original 
drawinors  and  water-colors  in  the  last  and  the  fol- 
lowing  works  of  Dickens  were  all  by  Kyd,  "  Bleak 
House,"  illustrated  by  fifteen  original  drawings. 
"Little  Dorrit,"  illustrated  by  fifteen  water-color 
drawings.  "  Nicholas  Nickleby,"  illustrated  by 
twenty-four  character  prints  inserted,  and  eighteen 
original  water-color  drawings.  "Pickwick  Papers," 
extended  to  two  volumes  by  the  insertion  of  two 
hundred  and  five  illustrations,  and  twenty-four  ori- 
ginal water-color  drawings.  "  Dombey  and  Son," 
illustrated  by  twelve  original  prints  by  "  Phiz,"  and 
eighteen  original  water-color  drawings.  "Great 
Expectations,"  three  volumes,  original  edition,  with 
twelve  inserted  water-colors ;  also,  an  additional 
volume,  containing  the  four  series  of  Pailthorpe 
plates,  all  early  impressions.  "  The  Life  of  Charles 
Dickens,"  by  John  Forster,  three  volumes,  one  hun- 
dred and  sixty  illustrations  added,  mostly  proofs, 
including  thirteen  portraits  of  Dickens.  All  the 
above  works  of  Dickens  were  bound  by  Zaehnsdorf, 
in  various  styles. 

"  Mary  Stuart,"  by  Alphonse  de  Lamartine,  one 
volume,  inlaid  to  folio  by  George  Trent,  and  ex- 
tended to  two  volumes  by  the  insertion  of  seven 
hundred  and  fifty  steel-plate  prints,  many  full-page  ; 

244 


also,  one  volume  uniform  (making  three  volumes), 
containing  three  hundred  and  eighty-five  portraits 
of  Mary  Queen  of  Scots  ;  bound  in  full  olive  levant 
by  Stikeman.  Here  is  also  James  Boswell's  lit- 
erary leviathan,  "Sam  Johnson,"  one  volume  ex- 
tended to  six,  with  over  one  thousand  prints  added; 
also,  Knight's  "London,"  six  volumes,  octavo,  with 
six  hundred  prints  added. 

This  substantially  completes  the  list  of  Mr.  Cox's 
privately  illustrated  books.  Some  Americana  has 
been  slighted,  as  "  New- York  City  During  the 
Revolution  "  ;  "  Indian  Sketches,"  by  John  Treat 
Irving;   "  Edward  Everett  Memorial,"  and  others. 

There  is  no  gainsaying  the  fact  that  the  above 
is  an  incomparable  collection  of  books,  and  that  a 
large  portion  of  them  are  illustrated  with  a  discreet 
moderation,  and  the  quality  of  the  material  was 
probably  never  equaled.  There  are  methods  which 
are  an  excess  of  ornamentation  in  unique  book- 
making,  but  we  cannot  say  that  it  exists  here ; 
everything  is  in  good  taste,  and  the  decorations 
are  without  consideration  of  cost.  It  is  the  destruc- 
tion of  a  fine  book, — maybe  a  large  paper,  pri- 
vately printed,  and  a  rare  edition, —  by  building  up 
or  extending  the  leaves  to  take  in  large  prints,  to 
which  we  demur.  Better  to  have  the  prints  left 
out  altogether  than  to  utterly  destroy  an  elegant 
book  beyond  identification,  first,  in  overdressing  it, 

245 


and  then  burdening  it  with  prints  never  intended 
for  any  book.  Infinitely  more  charming  is  a  small 
book  —  at  largest  a  royal  octavo —  discreetly  illus- 
trated with  a  few  prints  which  gracefully  become 
it,  than  a  plethora  of  illustrations  coerced  into  the 
service.  We  are  familiar  with  all  the  arguments 
urged  in  behalf  of  the  custom  of  extending  the 
text  of  a  fine  book,  and,  in  the  expression  of  our 
judgment,  may,  like  Goethe,  "  promise  to  be  hon- 
est, but  impartiality  is  impossible";  for  none,  nor 
all,  of  the  reasons  can  justify,  from  our  point  of 
view,  the  breaking  up  of  a  beautiful  book,  already 
celebrated,  and  sacrificing  its  individuality  to  the 
convenience  of  at  best  a  few  —  and  frequently  a 
few  quite  ordinary  —  prints.  But,  notwithstanding 
our  demurrer,  or  the  remonstrance  of  our  feeble 
pen,  men  of  the  highest  culture  will  continue  to 
build  up  their  books  whenever  it  pleases  their 
caprice ;   for  — 

"  'T  is  a  weakness  of  the  wise 
To  choose  the  volume  by  the  size, 
And,  in  its  pond'rousness,  to  prize 

Dear  copies  printed  on  large  paper." 

Nor  must  we,  in  this  synopsis,  omit  to  mention 
a  most  estimable  gentleman  and  friend- — Hon. 
Charles  C.  Jones,  of  Georgia,  for  many  years  a  resi- 
dent of  Brooklyn,  now  of  Augusta,  Georgia.     He 

246 


introduced  some  new  features  in  book-illustrating. 
Mr.   Jones  is  the  author  of   many  learned  works 
on  archaeology,  ethnology,   and  kindred  sciences : 
"Monumental    Remains    of   Georgia";     "Indian 
Remains  in  Southern  Georgia";   "Ancient  Tumuli 
on    the   Savannah    River";     "Ancient  Tumuli    in 
Georgia";    "Aboriginal  Structures  in  Georgia"; 
"Antiquities  of  Southern  Indians,"  and  many  other 
works.     Anlong  his  illustrated  books  is  the  "Siege 
of  Savannah,  in  1779,"  translated  from  the  original 
journal  in  the  possession  of  J.  Carson  Brevoort.  This 
book  he  has  illustrated  at  a  cost  of  $600  ;  also  the 
"Siege  of  Savannah,  in  1864  "  ;  also  the  "  Life  of 
Tomo-Chi-Chi,"  a  Georgia  chief  who  visited  Eu- 
rope in  1734,  with  Governor  Oglethorpe.    The  last 
has  many  illustrations,  including  a  portrait  of  the 
chief,  taken  in  Europe,  and  rescues  from  oblivion 
the  memory  of  a  noble,  generous,  and  true  man. 
"We  search  in  vain," says  Mr.  Jones,  "for  a  single 
instance  of  duplicity,  a  doubtful  word,  a  breach  of 
faith,  a  criminal  indulgence,  or  a  manifestation  of 
hypocrisy,  and  whose  sentiments  at  times  were  not 
unworthy  a  disciple  of  Plato."     From  this  we  pass 
to  the    "Antiquities   of   Southern    Indians";    this 
book  has  many  drawings  and  sketches.    Also  we 
note  the  "Rulers  and  Governors  of  Georgia,"  from 
the  Earl  of  Egmont  to  the  present  time,  with  por- 
traits, autographs,   prints,  and    maps    relating    to 

247 


Georgia;  also  "Life  of  Commodore  Josiah  Tatnall." 
These  are  all  his  own   works.       He  has  likewise 
illustrated    Colonel    Bannastre    Tarleton's   "  Cam- 
paign,"  a  work  minute    in    the  detail  of  military 
operations  in  both  Carolinas  and  part  of  Virginia 
up  to  the  surrender  of  Cornwallis  in  1781;  William 
Johnson's    "  Life   Sketches  of  Major-General  Na- 
thaniel Greene";  "Life  of  Casimir  Pulaski,"  etc.,  etc. 
Among  these  collections  we  would  refer  to  his  auto- 
graphs and  portraits  of  the  Members  of  the  Conti- 
nental Congress  from  Georgia,  and  of  the  United 
States  Senators  from  Georgia ;  autographs  and  por- 
traits of  the  Delegates  to  the  Constitutional  Con- 
vention   of    1787;     "Rulers    and    Governors    of 
Georgia";  the  "Georgia  Portfolio,"  in  two  volumes; 
autograph  letters  and  portraits  of  the  Chief  Justices 
and  Associate  Justices  of  the  Supreme  Court  of  the 
United  States,  and  of  the  Attorneys- General  of  the 
United  States ;  autographs  and  portraits  of  the  Presi- 
dents of  the  Continental  Congress,  of  the  Presidents 
of  the  United  States,  and  of  the  Vice-Presidents  of 
the  United  States ;  autograph  letters  and  portraits 
of  the  Signers  of  the  Constitution  of  the  Confeder- 
ate States ;  autograph  letters  and  portraits  of  the 
Signers    of    the     Declaration     of    Independence, 
in  two  volumes,  and  Members  of  the  Continental 
Congress,     1775-89,      Volume    I.    of   this    series 
contains  a  second  and  complete  set  of  the  Signers 

248 


of  the  Declaration  of  Independence.^  Of  the 
Members  of  the  Continental  Congress  there  is  full 
representation,  either  by  autograph  letter  or  docu- 
ment signed,  with  the  exception  of  some  twelve 
names.  This  series,  like  the  others  alluded  to,  is 
inlaid  on  Whatman  paper,  is  accompanied  by  en- 
graved portraits,  views,  etc.,  wherever  practicable, 
and  is  bound  in  five  volumes,  crushed  levant. 

But  the  greatest  and  most  important  of  all  his 
productions,  from  a  historical  point  of  view,  is  a 
work  based  upon  the  roster  of  the  Confederate 
army,  consisting  of  autographs,  original  letters, 
original  army  orders,  commissions,  instruments  re- 
lating to  the  State,  portraits,  prints,  maps  and  plans 
of  battles,  all  of  which  he  has  extended  to  folio,  in 
twelve  thick  volumes  —  inlaying  done  by  Toedte- 
berg,  Trent,  and  Lawrence.  This  is  a  wonderful 
series ;  it  embraces  autograph  letters  and  portraits 
of  all  heads  of  departments  and  chief  clerks,  Presi- 
dent and  military  family,  Governors  of  the  Con- 
federate States,  Senators,  Members  of  the  Confeder- 
ate Congress,  commissioners,  agents,  full  generals, 
lieutenant-generals,  major-generals,  brigadier-gen- 
erals, military  maps,  surveys,  returns,  etc.  Mr. 
Jones   has  illustrated  over  one  hundred  volumes, 

1  Colonel  Jones  has  two  full  sets  of  the  Signers  of  the  Declaration ;  in 
one  there  are  forty-nine  full  letters  signed,  the  rest  a.  d.  s.;  in  the  other  set  he 
has  thirty-six  full  letters  signed,  made  up  of  cut  signatures,  and  a.  d.  s.  Of 
the  Signers  of  the  Constitution  he  has  a  full  set,  a.  1.  s. 

1-  249 


produced  seven  or  eight  scientific,  historical,  and 
biographical  works,  and  has  delivered  lectures  — 
all  while  living  in    Brooklyn,  from    1865    to    1879. 
During  the  same  time  he  was  a  member  of  the  law 
firm  of  Ward,  Jones,  and  Whitehead,  of  New- York. 
We  must  here  again  call  attention  to  the  enor- 
mous results  from  the  labor  of  one  man,  and  it  does 
seem  to  us,  from  abundant  example,  that,  with  a' 
proper  regard  for  physical  health,  attention  to  exer- 
cise, proper  assimilation  of  food,  it  is  difficult  to  put 
more  mental  work  upon  a  man  than  he  can  bear. 
It  is  worry  and  fret  which  kills  —  indigestion  con- 
sumes the  brain  and  clogs  up  the  avenues  of  thought 
more  than  work.      Parallels  to  this  irresistible  en- 
ergy are  not  merely  demonstrable,  but  are  demon- 
strated in  the  men  who  have  moved  the  world  —  as 
Mahomet,   Luther,  Knox,  Calvin,  Franklin,  Paine, 
and  Lincoln.     Caesar  wrote  his  essay  on  Latin  rhet- 
oric while  crossing  the  Alps;    Macaulay  wrote  his 
"Lays  of  Ancient  Rome"  in  the  War-Office;  Glad- 
stone wrote  his  "Juventus  Mundi"  during  an  un- 
paralleled political  struggle;  and  our  own  Horace 
Greeley  produced  the  "Great  American  Conflict," 
a  work  of  as  much  correct  thought  as  ever  issued 
from  the  American  press,  during  the  busiest  part 
of  a  marvelously  busy  life.^    And  even  among  re- 

1  The  most  portentous  example  of  literary  fecundity  on  record  is,  beyond 
all  question,  to  be  found  in  the  person  of  Lope  de  Vega.  He  thought  nothing 
of  writing  a  play  in  a  couple  of  days,  a  light  farce  in  an  hour  or  two,  and  in 

250 


cent  French  statesmen,  with  whom  poHtics  is  ever 
an  exacting  profession,  we  find  men  whose  great- 
ness consists  rather  in  what  they  accomphshed  in 
overtime  than  in  the  business  of  their  lives,  as  De 
Tocqueville,  Thiers,  Guizot,  and  Lamartine;  even 
Napoleon  III.  earned  a  seat  in  the  Academy  by  his 
"Life  of  Caesar."  The  point  here  intended  to  be 
made  clear  is  that  to  a  disciplined  and  thoroughly 
equipped  mind  overwork  is  scarcely  possible  while 
the  rhythm  of  the  mental  constitution  is  preserved, 
and  "that  the  hollowest  of  all  dogmas  is  the  dogma 
of  ease  and  comfort."  Dr.  Mortimer  Granville  said 
if  the  private  asylums  of  the  country  were  searched 
for  the  victims  of  overwork,  they  would  nearly  all 
be  found  to  have  fallen  a  prey  to  zuoriy,  or  the 
degeneracy  which  results  from  lack  of  purpose  in 
life  and  steady  employment.  The  pernicious  sys- 
tem of  cram  also  slays  its  thousands,  because  un- 
developed, inelastic  intellects  are  burdened  and 
strained  beyond  their  capacity,  as  we  pack  a 
satchel  with  thS  articles  on  top  which  are  likely  to 
be  first  wanted.  Those  who  bewail  their  infliction 
most  loudly  are  weak  of  mind  or  torpid  of  brain. ^ 

the  course  of  his  life  he  furnished  the  stage  of  Spain  with  upward  of  two 
thousand  dramas.  The  most  voluminous  writer  of  modern  times  was  cer- 
tainly Robert  Southey.  His  aggregated  works  were  one  hundred  and  nine 
volumes,  and  one  hundred  and  forty-six  essays.  After  Southey  comes  Vol- 
taire, then  Sir  Walter  Scott. 

1  When  we  observe  the  grace  of  diction  and  smooth  running  lines  of  some 
writers,  their  lucid  and  logical  methods,  we  lose  all  confidence  in  our  stam- 
mering efforts  to  make  ourselves  intelligible,  and  the  various  editions  through 

251 


There  could  be  a  volume  filled  with  interesting 
material  selected  from  the  extra-illustrated  vol- 
umes in  the  library  of  William  L.  Andrews,  New- 
York.  Their  intrinsic  value  consists  in  being  the 
depositories  of  historical  matter  in  manuscript,  au- 
tographs, portraits,  and  prints.  In  many  respects 
it  is  the  rarest  collection  in  the  city;  much  of  it  is 
now  absolutely  unique.  Mr.  Andrews  was  a  disci- 
ple of  John  Allan,  from  whom  he  received  his  first 
inspiration  in  book-illustrating.  He  is  an  ardent 
lover  of  books,  and,  besides  those  falling  under  the 
inquisition  of  this  monograph,  has  a  large  library 
of  rare  and  valuable  works. 

The  bulk  of  his  private  illustrating  has  been 
works  on  American  history,  and  especially  local 
history  of  New-York.  A  beautifully  illustrated 
copy  of  Dr.  Francis's  "Old  New- York,"  in  four 
volumes,  is  the  product  of  the  early  stages  of  this 
passion.  It  is  illustrated  by  five  hundred  and  fifty- 
six  prints,  water-colors,  and  autographs.    There  are 

which  our  efforts  have  to  pass  —  the  literary  reformations,  the  pen-scratchings, 
the  crumpled  manuscript,  the  waste-basket,  and  the  chimney  —  have  absorbed 
more  than  three  fourths  of  our  literary  hfe.  But  then  Plato  modeled  and  re- 
modeled the  first  sentence  of  his  "  Republic  "  nine  times  before  he  was  satis- 
fied with  it ;  Isocrates  was  ten  years  on  his  "  Panegyric  ";  Waller  assures  us 
that  he  spent  a  whole  summer  over  a  couplet;  Gibbon  wrote  the  first  chapter 
of  the  "Decline  and  Fall"  over  three  times  entirely,  which  occupied  him 
twenty  years.  "You  will  read  this  in  a  few  hours,"  said  Montesquieu,  in  a 
letter  to  a  friend,  "but  the  labor  expended  upon  it  has  whitened  my  hair." 
Locke  was  eighteen  years  over  his  "  Essay  ";  Pascal's  diligence  was  pro- 
verbial ;  Polignac's  "Anti-Lucretius  "  was  the  fruit  of  twenty  years'  incessant 
revision ;  Thucydides  was  twenty  years  on  his  great  work ;  and  Diodorus 
was  thirty  years  on  his  history. 

252 


many  rare  prints,  and  some  in  proof  states  ;  Bourne 
and  Peabody's  views  on  India  paper,  and  prints 
from  the  "New- York  Magazine";  also  a  portrait  of 
Brockholst  Livingston,  probably  unique,  besides 
many  others.  All  the  title-pages  are  in  water- 
color,  by  Abram  Hosier,  as  are  also  a  great  number 
of  the  drawings  and  sketches.  There  is  another 
copy  of  the  same  work  in  this  collection,  containing 
two  hundred  prints,  including  a  portrait  of  Thomas 
Cooper,  engraved  by  Edwin,  a  beautiful  print  of 
exceeding  rarity,  Fitz-Greene  Halleck's  "  Poems," 
in  royal  octavo,  is  also  among  his  privately 
illustrated  works,  with  the  text  inlaid  by  Trent; 
it  has  eighty  prints  and  autographs  inserted.^  Also 
Mrs.  Lamb's  "  History  of  the  City  of  New-York," 
with  three  hundred  and  eighty-four  prints  added 
(many  of  the  rarest,  and  of  great  historical  signifi- 
cance), colonial  and  revolutionary  portraits  and 
views;  also  "Knickerbocker's  History  of  New- 
York,"  large  paper,  with  illuminated  title-page  and 
tail-pieces  by  Hosier,  with  one  hundred  and  forty- 
three  prints,  comprising  the  rare  set  of  Leslie  and 
Newton  on  India  paper,  a  number  of  Hinton's 
views  on  Japan  paper,  and  some  rare  prints,  includ- 
ing the  Warum,  Austin,  and  Lawrence  views  from 

1  Mr.  Andrews  published  an  edition  of  seventy  copies  only  of  Halleck's 
poem  "  Fanny."  The  poem  is  illustrated  by  notes  bearing  the  date  of  1866. 
It  is  a  delightful  specimen  of  book-making.  The  drawings  for  this  work 
were  made  by  Mr.  Abram  Hosier  of  New-York. 


Ogilby,  in  two  volumes,  bound  in  crimson  morocco, 
outside  and  inside  tooling,  by  Matthews.  Another 
copy  of  the  same  work,  containing  views  of  "Y* 
governor's  house  and  y^  church  and  y''  fort  at  Niew 
Amsterdam,"  also  view  of  east  side  of  Broad 
street,  corner  Exchange  Place,  1 780.  W.  A. 
Duer's  "  New-York  During  the  Century,"  about 
one  hundred  portraits  and  views  added,  also  auto- 
graphs: a  fine  specimen  of  Pawson  and  Nicholson's 
binding.  "The  Park  and  Its  Vicinity,"  Dawson, 
with  twenty-six  prints  inserted,  many  of  them 
specially  fine  and  rare ;  a  southwest  view  of  Fort 
George  with  the  city  of  New-York  ;  the  portrait 
of  Washington  by  Ed.  Savage,  portrait  of  Henry 
Rutger  by  C.  C.  Wright,  portrait  of  Lafayette  from 
the  French  series  of  Revolutionary  portraits.  "  The 
Cambridge  of  i  776  "  ;  and  the  "  Diary  of  Dorothy 
Dudley,"  edited  for  the  Ladies'  Centennial  Com- 
mittee by  A,  G.,  twelve  prints  inserted,  including 
five  of  Harvard  College,  from  the  "Columbian  Mag- 
azine," rare  print  of  Battle  of  Bunker  Hill,  portrait 
of  General  Green  in  India  ink,  drawn  by  A.  J. 
Davis,  view  of  State  House,  Philadelphia,  curious 
old  portraits  of  John  Adams  and  John  Hancock. 
Another  copy  of  the  same  with  thirty-six  prints  in- 
serted, among  which  are  some  rare  examples  from 
the  "Massachusetts  Magazine,"  the  Bridge  over 
Charles  River,  College  at  Cambridge,  View  of  Fan- 

254 


euil  Hall,  Baptist  Meeting-house,  Providence,  por- 
trait of  Franklin,  Court-house  in  Salem,  Bridge  over 
Mystic  River,  Castle  William,  Boston  Harbor,  and 
many  others  ;  bound  in  blue  morocco  by  Stikeman. 
Another  interesting  historical  work  is  William  L. 
Stone's  "Memoirs  of  Gen.  Reidesel,"  two  volumes, 
thirty-six  prints  inserted,  with  Bartlettand  Hinton's 
views,  proof  and  rare  portraits  of  Lady  and  Colonel 
Ackland.  Edward  Everett's  "Life  of  Washing- 
ton," the  entire  text  inlaid,  one  hundred  prints 
inserted,  some  of  the  very  rarest  of  Washington  in- 
cluded. A  very  remarkable  title-page  in  mosaic, 
by  Trent. 

Mr.  Andrews  has  many  other  illustrated  books 
on  American  history  which  he  pleases  to  denomi- 
nate "Minor  Works,"  as  "Life  and  Letters  of 
Washington  Irving,"  two  hundred  and  seventy-five 
prints  and  autographs  added;  Irving's  "Sketch 
Book,"  one  hundred  prints,  including  Leslie  and 
Newton's  set,  also  Westall  and  Cruikshank :  this 
is  in  two  volumes,  bound  in  vellum  by  Matthews. 
Of  the  foreign  literature  we  have,  first,  "  Life  of 
Thomas  Stothard,"  by  Mrs.  Bray,  text  inlaid,  one 
hundred  and  fifty  prints  and  two  water-colors  by 
Stothard  inserted.  The  "Story  of  Nell  Gwyn," 
fifty-eight  prints  inserted.  This  volume  is  bound 
in  crimson  levant,  elaborately  tooled  by  Mr.  Glea- 
son,  who  was  twenty-five  years  with  Mr.  Matthews, 

255 


and  this  was  his  last  work,  Walton's  "Angler," 
Major,  large  paper,  two  volumes,  with  fifty-four 
prints  inserted.  Another  copy,  illustrated  entirely 
by  proof-prints,  a  pen-and-ink  sketch  by  Newton 
Fielding,  and  two  by  Jean  Baptiste  Descamps ;. 
bound  by  Pengold.  "Annals  of  the  English 
Stage,"  Dr.  Doran,  four  hundred  and  seventeen 
prints  inserted,  many  in  proof  state.  Supplemen- 
tary volume  of  India-proof  impressions  from  illus- 
trations to  Bell's  Theatre. 

"Samuel  Pepys  and  the  World  He  Lived  In,"^ 
large  paper,  fifty-three  prints,  with  a.  d.  s.  and 
the  rare  portrait  of  Pepys  by  White,  equestrian 
portrait  of  James  II.  by  Merlin,  and  many  other 
portraits,  proofs  before  letters. 

Mr.  Andrews  has  illustrated  Samuel  Pepys's  im- 
mutable "  Diary"  in  four  volumes,  octavo,  by  three 
hundred  and  thirty-five  prints,  some  engraved  by 
White,  Faithorne,  Hollar,  and  others,  also  Wood- 
burn  mezzotints  in  proof  before  letters.  It  is 
strange  thata  work  like  Pepys's  "  Diary  "should  have 
attracted  so  little  attention  from  book-illustrators, 
for  no  book  ever  written  is  so  prolific  of  illustration, 

1  Samuel  Pepys  was  a  man  of  great  worth,  and  in  high  estimation  among 
the  literati;  he  has  some  pretension  to  notice  as  a  man  of  letters,  having 
written  a  romance  and  at  least  two  songs.  The  former  he  prudently  burned, 
though  not  without  some  regret,  doubting  that  he  could  not  do  it  so  well  over 
again  if  he  should  try.  He  does  not  appear  to  have  got  beyond  the  false 
taste  of  his  times,  as  he  extols  "  Volpone"  and  the  "Silent  Woman"  as  the 
best  plays  he  ever  saw,  and  accounts  "  Midsummer  Night's  Dream  "  the 
most  insipid  and  ridiculous.     "Othello  "  he  sets  down  as  a  mean  thing. 

256 


and  no  work  has  thrown  such  a  flood  of  light  upon 
the  history,  social  customs,  and  manners  prevailing 
about  the  close  of  the  seventeenth  and  the  opening 
of  the  eighteenth  century,  as  this  gossipy  book.^ 
Pepys  first  became  known  to  the  world  as  a  diarist 
in  1825,  and  Jeremy  Collier  speaks  of  him  as  "a 
philosopher  of  the  severest  morality."  One  thing 
is  pretty  certain,  he  has  gained  a  celebrity  entirely 
without  intention  on  his  part. 

The  escape  of  Pepys's  portrait,  painted  by  Hales, 
from  oblivion  is  a  curious  commentary  on  how 
things  are  lost  to  the  world.  He  refers  to  sittings 
had  for  this  portrait  in  his  "  Diary,"  February  15,^ 
March  3,  15,  17,  24,  30,  and  again  April  11,  1666, 
March  29,  30,  July   19,  1668.      Some  years  after- 

1  Pepys,  in  his  "  Diary,"  makes  reference  to  a  celebrated  old  book-worm 
whom  he  knew,  by  the  name  of  Richard  Smith,  of  Little  Moorfields.  "He 
was,"  says  Pepys,  "  a  person  infinitely  curious  and  inquisitive  after  books, 
and  suffered  nothing  to  escape  him  that  fell  within  the  compass  of  his  learn- 
ing—  desiring  to  be  master  of  no  more  than  he  knew  how  to  use."  From 
other  sources  we  find  that  this  Smith  had  collected  a  great  mass  of  historical 
works,  and  that  he  was  also  a  collector  of  MSS.  He  died  in  1675.  After 
the  decease  of  this  worthy  old  bibliomaniac,  it  was  proposed  to  buy  his 
library  by  public  subscription,  but  eventually  it  fell  into  the  hands  of  the 
bookseller  Chiswell,  in  St.  Paul's  Churchyard,  who  printed  a  catalogue  of 
the  books,  and  sold  them  at  auction  in  1682.  The  prices  some  of  the  Cax- 
tons  fetched  would  make  a  modern  Caxtonian  sigh:  Caxton's  "Chronicle  of 
England,"  3^.  6^/. ;  "  Mirrour  of  the  World,"  5^. ;  "  History  of  Jason,"  5^.  id. ; 
"  Recueilles  of  the  Histories  of  Troy,"  y. ;  "Book  of  Good  Manners,"  2s. ; 
"Game  of  Chesse,"  13^.;  "Vites  Patrum,"  8j.;  "Godfrey  Bulloigne,"  iSj.; 
"Translation  of  Virgil's  ^neids,"  3^. ;  "Pilgrimage  of  the  Soul,"  "Chas- 
tening God's  Children,"  "Rule  of  St.  Benet,"  5J. ;  "Translation  of  Cato," 
4J. ;  "  Translation  of  the  Knight  of  the  Toure,"  ^s.  This  sale  catalogue,  with 
prices  annexed,  is  now  in  the  British  Museum.  These  books,  so  insignificant 
two  hundred  years  ago,  would  fetch  a  moderate  fortune  to-day. 

2  See  "  Diary  "  of  this  and  following  dates. 


ward  this  portrait  was  exposed  for  sale  at  public 
auction,  under  the  description  in  the  catalogue  of 
the  sale  simply  as  the  portrait  of  a  musician.  Pepys 
is  represented  in  the  picture  in  a  gown  which  he 
hired  for  the  occasion  of  having  his  picture  taken, 
with  a  piece  of  music  in  his  hand,  on  which  are  the 
words  "  Salamante  Roxalana,  Beauty  retire  thou." 
Had  it  been  sold  under  its  catalogued  title,  it  would 
probably  have  been  lost  altogether;  but,  fortunately, 
Peter  Cunningham,  who  was  learned  in  literary 
and  picture  lore,  saw  it,  recognized  it,  and  pur- 
chased it  for  a  mere  trifle,  and  thus  it  was  re- 
deemed from  oblivion.  The  picture  is  now  in  the 
National  Portrait  Gallery.  This  portrait  has  been 
etched  in  octavo,  and,  although  scarce,  is  not 
extremely  rare.  Of  course  the  one  engraved 
from  Lely's  picture  everybody  knows,  and  the  one 
by  Kneller.   There  is  another  by  Nanteuil. 

Mr.  Andrews  has  illustrated  "  Memoirs  of  Saint 
Simon,"  three  volumes,  one  hundred  prints;  also 
"  Diary  of  Henry  Crabb  Robinson,"  three  volumes, 
one  hundred  prints  ;  "  Horace  Walpole  and  His 
World,"  fifty  charming  proof-prints.  There  are 
about  eighty  other  illustrated  works,  or  one  hun- 
dred volumes,  in  this  collection,  not  specified  for 
want  of  time. 

This  ends  one  of  the  most  remarkable  collec- 
tions of  illustrated  books  in  New-York.      It  was 

258 


commenced  in  the  days  of  John  Allan.  Mr. 
Andrews  permits  us  to  give  his  kindliest  assur- 
ances to  his  friends  and  the  public,  if  they  have 
any  interest  in  the  subject,  that  he  shall  illustrate 
no  more  books ;  to  which  we  may  append  our  firm 
conviction  that  there  are  no  signs  of  the  decay  of 
the  passion  in  Mr.  Andrews,  and  we  think,  not- 
withstanding his  determination,  that  the  old  adage 
holds  good  in  his,  as  in  all  other  cases,  that  men 
who  commence  to  extra-illustrate  books  never 
cease  in  life.  There  is  a  beginning  to  such  work, 
but  no  ending. 

Mr.  Laurence  Hutton,  of  New-York,  has  extra- 
illustrated  some  books.  It  is  more  agreeable, 
however,  to  speak  of  him  as  the  author  of  much 
literature  and  the  creator  of  many  books  on  art 
and  the  drama  —  all  of  which  have  received  the 
highest  attestation  of  public  favor.  "Wondrous, 
indeed,"  says  Carlyle,  "  is  the  virtue  of  a  true 
book.  Not,  like  a  dead  city  of  stones,  yearly 
crumbling,  yearly  needing  repair ;  let  me  rather 
say  it  stands  from  year  to  year  and  from  age  to 
age.  We  have  books  that  already  number  some 
hundred  and  fifty  human  ages,  and  yearly  comes 
in  a  new  produce  of  commentaries,  deductions, 
philosophical,  political  systems,  or  were  it  only 
sermons,  pamphlets,  journalistic  essays,  every  one 
of  which    is  talismanic    and   thaumaturgic,    for    it 

259 


can  persuade  men.  O  thou  who  art  able  to  write 
a  book,  which  once  in  two  centuries,  or  oftener, 
there  is  a  man  gifted  to  do,  envy  not  him  whom 
they  call  city-builder,  and  inexpressibly  pity  him 
whom  they  name  conqueror.  Thou,  too,  art  a 
conqueror  and  victor;  thou,  too,  hast  built  what 
will  outlast  marble  and  metal,  and  be  a  wonder- 
bringing  city  of  the  mind,  a  temple,  a  seminary, 
and  prophetic  mount,  whereto  all  kindreds  of  the 
earth  will  pilgrim." 

Mr.  Hutton  makes  no  pretensions  as  an  illustra- 
tor, although  he  has  illustrated  "Plays and  Players," 
extending  it  to  four  volumes,  quarto,  by  the  addi- 
tion of  portraits,  autographs,  and  views  of  every 
person  and  place  mentioned  in  the  text ;  also 
"  Curiosities  of  the  American  Stage,"  extended  to 
five  volumes,  illustrated  by  autographs,  portraits, 
and  views :  both  of  which  are  satisfactory  books. 
The  "  Memoirs  of  Lester  Wallack,"  with  his  auto- 
graph and  portraits  added,  and  also  a  very  complete 
collection  of  "First  Night"  and  "Last  Night"  bills, 
together  with  many  portraits  of  actors  and  ac- 
tresses; also  "Literary  Landmarks  of  London," 
three  volumes,  has  portraits  of  every  subject  named 
in  the  text  except  Richard  Savage,  of  whom  there 
is  no  portrait. 

"  Ill-fated  Savage,  at  whose  birth  was  given 
No  parent  but  the  muse,  no  friend  but  heaven." 

260 


Mr.  Hutton  is  collecting  portraits  and  views  to 
illustrate  his  "  Literary  Landmarks  of  Edinburgh," 
now  going  through  the  press.  Mr.  Hutton's  inlay- 
ing was  by  Lawrence,  of  New- York,  and  his  bind- 
ings by  Riviere  &  Son,  London. 

Mr.  E.  Bement,  of  Staten  Lsland,  is  a  genuine 
bibliophile,  and  has  made  some  valuable  contribu- 
tions to  its  technics.  He  has  extensively  illustrated 
Macaulay's  "History  of  England,"  large  paper, 
printed  on  India  paper,  bound  in  brown  levant 
morocco  by  Matthews,  in  eight  volumes  ;  there  are 
two  hundred  and  eighty-three  portraits,  all  proof 
and  India  proof,  inserted,  also  one  autograph  letter 
signed.  Mr.  Bement  has  also  illustrated  Walton's 
"Complete  Angler,"  Pickering  edition,  extended 
to  two  volumes  by  the  insertion  of  one  hundred  and 
seventy-three  prints  of  fish  and  fishing  scenes, 
bound  in  Matthews's  best  style,  lined  with  red 
morocco  with  elaborate  tooling. 

E.  and  J.  de  Goncourt,  "  Les  Maitresses  de 
Louis  XV.,"  Paris,  i860,  papier  velin ;  bound  by 
Thibaron  in  red  levant,  lined  with  citron  morocco, 
tooled  with  handsome  XVIIIth  century  pattern, 
and  containing  one  hundred  and  fifty-six  portraits 
and  two  autographs,  inlaying  by  Trent,  in  two  vol- 
umes. The  size  of  Mr.  Bement's  collection  is  com- 
pensated by  its  quality ;  the  prints  are  in  a  high 
state  of  perfection. 

261 


Nor  is  William  A.  Fraser,  of  New-York  City,  a 
novitiate  in  the  art  of  illustrating  books.  He  has 
illustrated  Dr.  Francis's  "  Old  New- York,"  Win- 
throp  Sargent's  "  Life  of  Major  Andre,"  "  Life  of 
Benjamin  Franklin,"  Irving's  "Washington,"  and 
other  biographical  works. 

John  P.  Woodbury,  of  Boston,  is  a  gentleman  to 
whom  the  domain  of  illustrated  books  is  no  terra 
mcognita.  He  has  extended  the  Roxburgh  edition 
of  the  Waverley  novels,  i860,  and  the  "Poetical 
Works"  of  Scott,  with  Turner's  designs,  1833-34, 
to  sixty  volumes  by  the  addition  of  seven  hundred 
and  forty-eight  illustrations,  with  autograph  letters 
of  Sir  Walter. 

We  next  have  "  Nathaniel  Hawthorne  and  Wife," 
by  Julian  Hawthorne,  edition  de  luxe.  This  work, 
originally  in  two  volumes,  is  extended  to  four  by 
the  insertion  of  three  hundred  and  eighty-three 
illustrations,  including  twenty-seven  autograph  let- 
ters. Every  mention  of  the  name  of  Hawthorne 
revives  the  memory  of  that  prayer  in  which  he 
thanked  God  for  giving  us  Puritan  ancestors,  and 
then  significantly  "thanked  God  that  at  every 
anniversary  of  their  landing  they  were  further 
removed  from  us." 

The  chef-d'oeuvre  of  Mr.  Woodbury's  illustrated 
books  (unless  indeed  that  honor  is  disputed  by  the 
Walton  next  following)  is  his  "Works  and  Biog- 

262 


raphy  of  William  Shakespeare,"  by  Charles  Knight, 
originally  published  in  eight  volumes,  now  extended 
to  fourteen  by  the  addition  of  fifteen  hundred  illus- 
trations, thirteen  hundred  engraved  portraits,  views, 
scenes,  etchings  designed  by  Smirke,  Thurston, 
Stothard,  Turner,  Fuseli,  Harding,  Bartolozzi, 
Cruikshank,  and  other  eminent  artists,  making 
total  of  illustrations,  including  those  published  in 
the  book,  twenty-five  hundred.  These  volumes 
were  bound  by  Macdonald  in  full  seal,  extra  gilt, 
and  panels  ;  they  are  the  par  excellence  of  neatness. 
"  It  is  a  pleasure  under  almost  any  circumstances 
to  meet  the  humid  pages  of  honest  Isaac  Walton, 
for  he  ranks  as  a  standard  author,  an  old  master  in 
literature,  as  Reynolds  does  in  art."  For  ourselves, 
we  care  nothing  for  the  code  of  piscatory  legisla- 
tion of  the  "Complete  Angler";  it  commands  our 
regard  as  an  art  and  literary  Eden  only.  The 
copy  of  Walton  belonging  to  Mr.  Woodbury  is  the 
large-paper  of  the  Pickering  edition  of  1836,  in  two 
volumes,  increased  to  seven  volumes  by  the  inser- 
tion of  duplicate  proof-prints  before  letter  and 
engravings  on  wood,  copper-  and  steel-plates,  con- 
tained in  the  following  editions,  viz.  :  Facsimile  of 
title  and  prints  of  fish  engraved  on  silver  of  first 
edition  of  Richard  Marriot,  1653.  All  other  editions 
as  originally  published:  Moses  Brown,  i  750;  John 
Hawkins,    1766;    Samuel    Bagster,    181 5;    Gods- 

263 


den  and  Wicksteed,  prints,  proof;  James  Smith, 
1822;  John  Major,  1823.  Woodcuts  and  copper- 
plates, proof  before  letter:  Thomas  Tegg,  1826; 
John  Major,  1844;  with  steel  (Absolon)  prints, 
proof  before  letter:  Henry  G.  Bohn,  1856;  copy 
of  poem,  and  copy  of  club  rules.  Also  book  of  eight 
hundred  and  seventy  flies,  water-colors,  pen-and-ink 
sketches,  etchings  by  Seymour,  Cruikshank,  How- 
itt,  Sabin,  and  others,  portraits,  views,  scenes,  etc., — 
in  all,  over  two  thousand  illustrations.  We  know 
not  where  to  direct  the  inquirer  to  a  more  beauti- 
ful book  than  this.  It  is  bound  in  crushed  levant 
double,  ornamented  with  special  designs  by  Riviere. 

"Retrospect  of  a  Long  Life,"  S.  C.  Hall,  1885. 
This  elegant  work  is  illustrated  by  five  hundred 
and  twenty-seven  illustrations,  including  one  hun- 
dred autograph  letters  of  eminent  statesmen,  artists, 
and  authors,  two  volumes  extended  to  four,  full 
crushed  levant  by  Macdonald  &  Son. 

"  Pickwick  Papers,"  Dickens,  one  of  the  five  hun- 
dred copies  printed  on  India  paper;  the  two  vol- 
umes are  extended  to  four  by  the  insertion  of  four 
hundred  and  twenty-six  illustrations,  nearly  all  on 
India  paper,  or  proof  before  letters,  bound,  in  the 
best  style  of  Stikeman,  in  full  crushed  levant,  to  a 
Grolier  pattern  on  terra-cotta.  This  is  a  sump- 
tuous work.  Then  we  have  "  Sir  Joshua  Reynolds 
and  His  Times,"  the  artist  who  knew  everybody, 

264 


and  had  painted  every  stage  queen,  from  Mrs. 
Sarah  Siddons  to  Kitty  Fisher.  He  is  said  to  have 
imparted  to  his  portraits  "  the  majesty  of  Angelo, 
the  tenderness  of  Raphael,  the  nobleness  of  Van- 
dyke, the  colors  of  Rubens,  and  the  chiaroscuro  of 
Rembrandt."  Reynolds  probably  had  no  superior 
in  his  profession,  and  he  was  as  successful  in  his 
social  as  in  his  professional  life.  "He  is  a  man," 
said  Johnson,  '*  whom  should  I  quarrel  with  I 
would  not  know  how  to  abuse."  This  elegant 
work  is  by  C.  R.  Leslie  and  Tom  Taylor,  1865. 
It  contains  four  hundred  and  seventy-four  illus- 
trations, mostly  mezzotints,  in  proof  state.  The 
original  two  volumes  have  been  extended  to  four, 
and  bound  in  mouse-colored  crushed  levant,  Roger 
Payne  tooling  on  back  and  sides.  And  now  comes 
the  companion  of  the  above,  under  the  title  of 
"Walpole  and  His  World,"  with  three  hundred 
and  seventeen  illustrations,  extended  to  two  vol- 
umes, full  crushed  levant,  double,  Roger  Payne 
tooling.  Lady  Townsend  characterized  Walpole 
as  "spirits  of  hartshorn."  His  talent  for  letter- 
writing  was  equal  to  that  of  Madame  de  Sevigne, 
but  his  mind  was  a  bundle  of  inconsistent  whims 
and  affectations.  He  played  innumerable  parts, 
and  overacted  them  all. 

Next  comes  "The  Jeffersons,"  by  William  Winter, 
large  paper,  one  hundred  copies  only  printed ;  one 
^«  265      • 


volume,  extended  to  two  by  the  insertion  of  three 
hundred  and  fifty  illustrations,  including  twenty 
autograph  letters  of  distinguished  actors.  Dr. 
Doran's  "Annals  of  the  English  Stage"  (Nimmo), 
large  paper;  the  three  volumes  are  extended  to 
nine,  containing  eight  hundred  illustrations,  in- 
cluding twenty-seven  autograph  letters.  "Nell 
Gwyn,"  large  paper,  Wiley  and  Son,  1883;  lim- 
ited edition,  the  one  volume  extended  to  three  by 
the  insertion  of  over  three  hundred  and  sixty  illus- 
trations, including  autographs  of  Charles  I.,  Charles 
II.,  Samuel  Pepys,  James  II.,  and  others.  "Play- 
ers and  Playhouses,"  by  Lennox,  one  hundred  and 
three  illustrations.  There  are  about  twenty-five 
other  illustrated  works  in  Mr.  Woodbury's  collec- 
tion, which  he  pleases  to  characterize  as  of  minor 
importance. 

Mr.  William  Donnes  is  doing  some  graceful 
work  in  extra-illustrating.  He  took  up  Mrs.  Lamb's 
"History  of  New- York  "  when  it  came  out;  it  is 
still  unfinished,  although  he  has  commenced  about 
thirty  works  since,  none  of  which  are  finished.  Mr. 
Donnes  selects  his  own  prints,  does  his  own  inlay- 
ing ;  his  progress  is  necessarily  slow,  but  he  is 
doinof  it  well.  He  has  a  few  extra-illustrated 
books  finished ;  his  binding  was  by  Stikeman. 

We  take  pleasure  in  recording  Charles  Turner 
of  Birmingham,   Alabama,   as   an  illustrator ;    but 

266 


whether  the  malady  is  indigenous  to  that  State, 
or  the  germs  were  carried  there  from  Connecti- 
cut by  Mr.  Turner,  we  shall  not  pretend  to  decide. 
He  has,  nevertheless,  illustrated  some  first-class 
literature.  He  has  extended  the  works  of  J.  L. 
Motley  in  nine  volumes  to  fourteen  by  the  inser- 
tion of  over  thirteen  hundred  portraits  and  views, 
many  of  them  extremely  rare;  also,  "Life  of  the 
De  Witts,"  two  volumes,  enlarged  to  three  by  the 
insertion  of  two  hundred  and  ninety  portraits  and 
views.  "  Life  of  Nell  Gwynne,"  eighty-six  por- 
traits inserted.  "  Life  of  Mrs.  Fitzherbert,"  inlaid 
to  folio,  with  sixty  portraits  inserted. 

Mr.  Harvey  Nebe,  of  the  city  of  Brooklyn,  has 
been  many  years  illustrating  Ireland's  "  History  of 
the  Stage  " ;  his  collection  amounts  to  twenty-six 
hundred  portraits  and  views  and  some  playbills 
and  autographs.  Among  the  portraits  are  about 
three  hundred  drawings,  two  hundred  and  fifteen 
of  which  are  Mr.  Nebe's  own  work.  Included 
among  the  rare  prints  are  the  portraits  of  Alixina 
Fisher  as  "  Desdemona,"  Clara  Fisher,  Mr.  and 
Mrs.  Joseph  Wood,  Hugh  Gaine,  printer,  and 
Mr.  and  Mrs.  J.  R.  Anderson,  the  four  Shaw 
Sisters,  Mr.  Wills  as  "Billy  Barlow,"  Joseph 
Reed,  dramatic  author;  a  print  of  the  Irving 
dinner  at  the  City  Hotel,  May  30,  1832;  S.  B. 
Judah.     Hagan's  "  Record  of  the  New-York  Stage 

267 


from  i860  to  1870,"  illustrated  with  about  seven 
hundred  prints,  consisting  of  portraits  and  views ; 
inlaid  on  Whatman  paper.  Dr.  Doran's  "  Annals 
of  the  English  Stage,"  illustrated  by  twelve  hun- 
dred prints  and  playbills ;  among  the  latter  we 
observe  several  of  Peg  Woffington. 

Mrs.  Stone's  "Chronicles  of  Fashion,"  with  about 
one  hundred  and  twenty-five  illustrations;  also 
"The  Literary  Remains  of  W.  G.  Clark,"  with 
about  fifty  prints  inserted.  Mr.  Nebe  does  his  own 
inlaying.  We  suspect  that  there  are  many  rare 
prints  in  this  collection,  but  we  are  not  sufficiently 
expert  to  pass  upon  them  and  give  a  list  of  them 
without  taking  more  time  than  we  have  to  spare 
for  the  investigation. 

William  J.  Bruce  of  Burlington,  N.  J.,  has  a 
large  library  of  books  on  American  history  and  an 
extensive  collection  of  autographs.  He  has  done 
much  private  illustrating.  Among  his  illustrated 
books  is  the  first  edition  of  the  "  Monograph."  As 
he  is  now  in  Europe,  we  have  not  been  able  to  see 
his  collection. 

Fred.  Holland  Day  of  Norwood,  Mass.,  has  illus- 
trated a  large-paper  copy  of  Brander  Matthew's 
"Ballads  of  Books"  by  the  insertion  of  fifty-three 
portraits,  thirty  autographic  letters,  and  many  book- 
plates, besides  an  autographic  list  of  subscribers 
for  the  hundred  copies  by  Mr.  Coombs  (the  pub- 

268 


lisher).  Of  the  portraits  for  this  work  twenty-two 
have  been  specially  made  for  it  in  sepia  or  India 
ink.  This  magnificent  volume  is  full-bound  in  sage- 
green  crushed  morocco,  by  Zaehnsdorf 

"  Life  and  Final  Memorials  of  Longfellow,"  by  his 
brother,  extended  from  three  to  six  volumes  by  the 
insertion  of  over  six  hundred  prints  and  many  por- 
traits, some  of  which  were  specially  made  for  the 
purpose.  These  volumes  are  bound  in  blue  crushed 
levant,  by  Zaehnsdorf. 

Leigh  Hunt's  "  Book  of  Sonnets,"  two  volumes, 
large  paper,  contains  over  two  hundred  prints,  many 
unique.  Lord  Ronald  Gower's  "Last  Days  of 
Marie  Antoinette,"  with  many  prints  that  once  be- 
longed to  the  collection  of  his  lordship.  Carlyle's 
"  French  Revolution,"  with  a  vast  number  of  prints. 
Edmund  C.  Stedman's  "Poets  of  America"  and 
"Victorian  Poets."  These  are  two  most  charming 
books  to  illustrate.  They  cover  nearly  the  entire 
field  of  European  and  American  literature.  Dean 
Stanley's  "  Westminster  Abbey,"  published  in  three 
volumes,  now  extended  to  four,  with  many  beauti- 
ful prints;  also  "Coronation  of  Charles  II.,"  on 
large  paper,  with  many  court  views  and  portraits. 
All  of  these  volumes  are  elaborately  illustrated. 

Near  the  Gate  of  St.  Paul,  close  to  the  pyramid 
of  Caius  Cestius,  and  bounded  by  the  very  wall  of 
Rome  herself,   there  is  a  graveyard  which  appeals 

269 


irresistibly  to  the  deepest  and  tenderest  feelings  of 
all  those  who  have  Anglo-Saxon  blood  in  their 
veins.  It  is  the  Protestant  burying-ground,  the 
silent  and  secluded  spot  conceded  many  years  since 
by  the  then  papal  government  for  the  interment 
of  such  '^accattolici "  or  heretics  who  had  died  in 
the  Eternal  City.  The  ashes  of  many  Americans 
have  found  rest  there;  but  it  contains,  besides,  two 
famous  sepultures  which  for  more  than  half  a  cen- 
tury have  been  objects  of  intense  interest  to  English- 
speaking  scholars,  and  which  have  become  well-nigh 
places  of  pilgrimage  to  wanderers  on  the  Con- 
tinent. In  the  upper  and  newest  part  of  the  grave- 
yard, under  the  lee  of  the  wall  of  Aurelian,  is  a  stone 
with  this  inscription,  "Percy  Bysshe  Shelley,  Cor 
Cordium."  The  expression  Cor  Cordium  is  an 
allusion  to  the  story  that  when  the  body  of  him  who 
wrote  "  Queen  Mab  "  was  burnt  by  Byron  and  his 
.  friends  by  the  Gulf  of  Spezzia,  the  heart  was  the 
only  portion  that  the  fire  failed  to  consume.  "  He 
was  the  best  and  least  selfish  man  that  I  have  ever 
known,"  said  Byron. 

In  the  older  section  of  the  ground,  adjoining 
the  entrance-gate,  is  another  monument  bearing  a 
longer  and  more  melancholy  epitaph.  It  runs  thus  : 
"This  grave  contains  all  that  was  mortal  of  a 
young  English  poet,  who,  on  his  death-bed,  in  the 
bitterness  of  his  heart  at  the  malicious  power  of 

270 


his  enemies,  desired  these  words  to  be  engraved 
on  his  tombstone :  '  Here  lies  one  whose  name 
was  writ  in  water,  February  24,  1821.'"  The  tomb 
is  that  of  John  Keats,  the  author  of  "  Endymion." 
"  Keats  did  not  take  firm  hold  of  his  immediate 
generation,"  says  Stedman.  "  But  seventy  years  of 
posterity  have  determined  that  that  name  shall  not 
die."     Inorram} 

Mr.  Day  has  visited  the  tomb  and  every  place 
made  sacred  in  having  been  frequented  by  Keats, 
and  had  drawings  made  from  photographs  taken 
on  the  spot.  These  he  has  brought  together  in 
Forman's  privately  printed  edition  of  Keats's  let- 
ters, including  many  unpublished  autograph  let- 
ters of  the  poet  and  his  large  circle  of  friends, 
an  original  water-color  of  the  poet  by  Severn,  a 
lock  of  his  hair,  and  an  autograph  letter  of  Fanny 
Brown  sending  it  to  a  mutual  friend.  This  work 
also  contains  an  extensive  amount  of  material 
of  locations  frequented  by  Keats ;  also  many  por- 
traits not  before  known  to  exist.  This  is  one 
of  the  most  charming  testimonials  to  this  young 

1 "  Gifford,  a  Quarterly  Reviewer,  a  man  with  about  as  much  poetry  in 
him  as  a  steam-engine,  finding  that  he  could  not  understand  Keats's  genius, 
thought  that  the  best  thing  he  could  do  for  his  own  dignity,  and,  indeed,  for 
the  world  in  general,  was  to  laugh  at  and  cut  to  pieces  'Endymion.'  The 
lesser  reviews  echoed  the  bray  of  the  great  Quarterly  donkey,  and  the  press 
spoke  hardly  a  good  word  for  Keats's  poem.  They  could  not,  however,  kill 
what  was  immortal.  '  Endymion '  found  even  then  many  sympathetic  readers, 
and  since  that  time  it  has  found  thousands  upon  thousands  more." — The 
Argosy. 

271 


and  unfortunate  favorite  that  we  have  ever  seen. 
"Keats,  although  young,  possessed,"  says  Shaw, 
"the  most  wonderful  profusion  of  figurative  lan- 
guage, often  exquisitely  beautiful  and  luxuriant, 
and  sometimes  fantastical  and  far-fetched  strains 
of  classical  imagery  combined  with  a  natural  per- 
ceptive loveliness  and  grace." 

"  Correspondence  of  H.  de  Balzac,"  illustrated 
by  four  hundred  prints  of  friends  and  haunts  of 
Balzac,  together  with  many  autograph  letters,  with 
forty  portraits  of  the  novelist,  some  of  which  are 
unpublished,  visiting-cards  of  Madame  de  Balzac, 
and  many  curious  literary  relics. 

Mr.  A.  S,  Manson  of  Boston  has  done  a  large 
amount  of  extra-illustrating,  but  he  ran  into  no 
extravagancies ;  very  few  of  his  books  have  had 
their  bulk  increased  more  than  fifty  per  cent.  Mr. 
Manson  commenced  about  twenty  years  ago.  His 
work  has  been  devoted  to  history,  principally  local, 
as  State,  County,  Town,  Church,  and  Society  histo- 
ries, Anniversaries,  Dedications,  Historical  Society 
Publications,  etc.  It  is  a  very  interesting  collection, 
embracing  Daniel  Neal's  "  History  of  New  Eng- 
land," Eli  Whitney's  "Worcester  County,"  William 
Hubbard's  "Indian  Wars,"  Benjamin  Turnbull's 
"Indian  Wars,"  James  Sullivan's  "History  of 
Maine,"  Samuel  Peters's  "  History  of  Connecticut," 
"  Life    of   Deborah    Sampson,"    John    Trumbull's 

272 


"McFingal,"  "First  Church  of  Boston."  Win- 
throp's  "New  England"  (Ouincy,  Mass.),  Wil- 
liams's "  History  of  Vermont,"  Beckley's  "  His- 
tory of  Vermont,"  "  Life  of  John  Hancock," 
Hubbard's  "  History  of  New  England,"  Benson's 
"Vindication  of  Andre,"  Heath's  "Memoirs,"  "Old 
Naumkeag"  (Salem,  Mass.),  Hutchinson's  "His- 
tory of  Massachusetts  Bay,"  Young's  "Chronicles 
of  the  Pilgrims,"  Young's  "  Chronicles  of  Massa- 
chusetts Colony,"  Smith's  "American  War,"  Calen- 
der's "  History  of  Rhode  Island,"  Smith's  "Life  of 
Andre,"  "Life  of  Sir  Charles  Henry  Frankland," 
"  Ethan  Allen  —  Narrative  of  Captivity,"  Belknap's 
"Biographies,"  Minot's  "History  of  Massachu- 
setts," Bradford's  "  History  of  Massachusetts," 
Elliot's  "Biographical  Dictionary,"  Bartlett's  "Pil- 
grim Fathers,"  "  Nooks  and  Corners  of  New 
England  Coasts,"  Davis's  "  Life  of  Aaron  Burr," 
Frothingham's  "Siege  of  Boston,"  "Life  of  Bene- 
dict Arnold,"  by  Arnold;  Belknap's  "History  of 
New  Hampshire,"  Palfrey's  "  History  of  New  Eng- 
land," Sargeant's  "  Life  of  Andre,"  Bancroft's  "His- 
tory of  the  United  States,"  Boswell's  "Life  of 
Johnson,"  Sullivan's  "Letters — Familiar  Charac- 
ters of  the  Revolution."  This  is  by  no  means  an 
exhaustive  list  of  the  very  remarkable  collection  of 
extra-illustrated  local  histories  of  Mr.  Manson, 
probably  not  more  than   one  half     None  of  his 

273 


books  are  overloaded  with  prints;  they  have  enough 
to  add  enormously  to  their  value  and  usefulness, 
but  they  are  not  cumbersome  or  bulky.  Mr.  Man- 
son  has  probably  fifteen  thousand  prints  and  views 
not  included  in  his  books,  with  a  good  collection 
of  folio  portraits  of  early  American  characters. 
He  has  about  five  hundred  different  portraits  of 
Washington  ;  some  are  very  rare.  It  is  not  diffi- 
cult to  conceive  how  great  value  must  necessarily 
attach  to  a  collection  of  historical  works  such  as 
the  above.  The  bindings  have  been  generally 
done  by   Macdonald  &  Son,   Boston. 

William  Matthews,  of  Brooklyn,  in  the  course 
of  his  business  career  as  a  binder,  has  arranged, 
collated,  and  bound  many  of  the  privately  illus- 
trated works  owned  by  his  patrons,  Mr.  William 
Menzies,  Mr.  John  Allan,  Mr.  E.  G.  Asay,  Mr. 
Robert  Hoe,  Jr.,  Mr.  William  T.  Howe,  Mr.  Ham- 
ilton Cole,  and  Mr.  Charles  Congdon,  and  has 
indulged  a  little  in  the  seductive  occupation  him- 
self. He,  however,  has  invested  very  cautiously, 
knowing,  as  he  assures  us,  the  expensive  results 
of  many  of  these  enterprises  of  his  patrons. 

Like  many  others,  he  began  at  the  "  top  of  the 
heap,"  his  first  book  being  the  Pickering  edition  of 
Walton  and  Cotton's  "  Complete  Angler."  He 
was  over  three  years  in  collecting  the  illustrations 
for  this  work,  and  he  says  it  was  the  happiest  book 

274 


occupation  of  his  life.      He  accumulated  six  hun- 
dred  and   fourteen    illustrations    for   the   work    in 
portraits   and    views,   extending  the    two  original 
volumes  to  four.     To  each  volume  he  has  added 
extra    titles    and    lists    of  the    extra    illustrations. 
There    are    many    etchings,    some    of    which    are 
highly  prized  by  Mr.  Matthews ;  of  these  the  par- 
allel views  of  the  City  of  London  before  and  after 
the  great  fire,  by   Hollar,  and   "The   Hare  on  a 
Misty  Morning,"  by  Bracquemond,  are  two.    These 
volumes  also  contain  many  artist's-proof  portraits 
of  Dryden,  Flaxma^,  Hollar,  and  the  very  scarce 
portrait  of  Mrs.   Garrick  from  the  original  plate. 
There  are  also   many  contemporary  portraits   by 
Lombart,  Loggan,  White,  etc.,  and  bright  impres- 
sions in  mezzotint  of  Gesner  and  Beza.     There  is 
also  a  perfect  impression  of  that  rare  and  probably 
truest  of  all  portraits  of  Milton  from  a  miniature 
presented  by  the  painter,  Samuel  Cooper,  to  Oliver 
Cromwell  while  he  was  Latin  secretary  to  the  pro- 
tector.     It  is  beautifully  engraved  by  Miss  Caro- 
line Watson,  and  its  truthfulness  is  authenticated 
by  Sir  Joshua  Reynolds.    These  volumes  are  bound 
in  crimson  levant,  and  have  emblematic  ornamented 
inside  borders. 

Here  is  also  Peterson's  edition  of  Burns's  works, 
in  six  volumes,  with  one  hundred  and  nineteen 
extra   illustrations,  bound   in  brown  levant;    also 

275 


Knight's  "  Pictorial  History  of  England,"  in  thir- 
teen volumes,  with  two  hundred  and  eighty-seven 
extra  illustrations,  portraits,  and  views,  bound  in 
green  levant. 

"The  Life  and  Writings  of  Sir  Philip  Sidney," 
one  volume,  quarto,  with  one  hundred  and  seven- 
teen illustrations,  bound  in  crimson  levant.  Cun- 
ningham's "Story  of  Nell  Gwyn,"  quarto,  with 
thirty-nine  illustrations,  bound  in  crimson  levant. 

The  late  William  J.  Florence,  of  New- York,  had 
an  illustrated  copy  of  "Nell  Gwyn"  extended  to 
two  volumes  by  the  insertion  of  about  two  hundred 
portraits,  mostly  of  the  court  of  the  "merry  mon- 
arch." Mr.  Florence  also  illustrated  an  edition 
de  luxe  of  Richard  B.  Sheridan's  play  of  "  The 
Rivals " ;  the  size  of  this  volume  is  eleven  and  a 
half  by  fourteen  inches.  The  edition  was  illustrated 
by  aquarelles.  The  book  contained  an  introductory 
memoir  of  Sheridan  by  J.  T.  Ford.  This  memoir 
is  illustrated  with  the  portraits  of  many  literary 
men  and  women  contemporary  with  Sheridan,  also 
several  portraits  of  Sheridan's  first  wife.  Miss 
Smiley.  The  play  is  illustrated  by  the  portraits  of 
every  actor  who  appeared  in  the  piece  on  its  first 
production  at  Covent  Garden  in  1776.  There 
are  also  many  playbills  arranged  in  chronological 
order  as  the  play  was  produced  in  Europe  and 
America,   with   portraits   of  the  principal   charac- 

276 


ters, —  Bob  A  cres,  Sir  A  nthony  A  bsolute,  Sir  Lucius 
O"  Trigger,  Mrs.  Malaprop,  etc., —  views  of  the- 
aters, and  scenes  at  Bath.  Every  care  was  taken 
to  make  this  as  perfect  an  extra-illustrated  book 
as  possible.  It  was  bound  by  Stikeman  in  half 
crushed  levant.  He  also  illustrated  Carlyle's 
"Life  and  Works  of  Schiller"  with  a  great  many 
portraits  and  views;  also  the  "Life  and  Works  of 
Goethe."  We  believe  that  Mr.  Florence  was  the 
owner  of  many  other  privately  illustrated  books, 
but  he  was  in  Europe  when  we  called,  and  we 
were  not  able  to  gret  a  siofht  of  his  collection.  We 
therefore  speak  of  his  collection  on  its  reputation, 
except  "The  Rivals,"  of  which  we  have  personal 
knowledge. 

Mr.  W.  E.  Field,  of  Boston,  recoils  from  noto- 
riety as  a  collector,  yet  confesses  to  a  great  love 
for  the  pursuit.  His  weakness  is  Dibdin,  Wal- 
pole,  and  Nell  Gwynne,  with  visions  of  pure  ex- 
amples of  Marshall,  White,  Vertue,  and  Blooteling. 
His  methods  are,  undoubtedly,  orthodox,  but  Jious 
verrons.  The  first  work  of  this  collection  to  which 
our  attention  is  called  is  "  Nell  Gwynne,"  extended 
to  two  volumes,  one  hundred  and  fifty-four  prints 
inserted,  of  which  fifty-four  are  proof  portraits 
before  letter,  the  remainder  all  India  proof;  three 
sepias  —  one  by  Harding,  one  by  Durand,  and 
a   gem   unique   by   Chouquet  of  the    Duchess   of 

277 


Portsmouth;  bound  in  orang-e-colored  levant  with 
special  designs  by  Zaehnsdorf.  It  is  a  charming 
work.  "  Horace  Walpole  and  His  World,"  by 
Seeley,  originally  in  one  volume,  now  extended 
to  three  by  the  insertion  of  about  three  hundred 
portraits  and  views,  many  of  which  are  proof 
before  letter,  many  India  proof,  with  the  very 
scarce  private  portrait  of  Kirgate,  India  proof, 
by  Collard;  bound  double  .in  red  levant,  special 
designs  by  Riviere.  Also  "Walpole's  Memoirs,"  by 
Dobson ;  one  volume  to  two ;  two  hundred  por- 
traits and  views ;  title-pages  from  the  Strawberry 
Hill  press;  manuscript  matter  in  Walpole's  hand, 
with  many  scarce  views  ;  bound  in  Derome  pattern 
by  Sandford.  The  foregoing,  Mr.  Field  informs 
us,  he  regards  as  a  sort  of  side-play  to  relieve  the 
tedium  of  a  ten  years'  pursuit  of  material  for  illus- 
trating "  Dibdin's  Works,"  which  follow,  "  North- 
ern Tour,"  two  volumes  extended  to  three  by  the 
insertion  of  three  hundred  portraits  and  views  in 
proof  before  letter,  India  proof,  etc. ;  bound  dou- 
ble in  Roger  Payne  style  by  Zaehnsdorf;  also 
"  Bibliophobia,"  one  thick  volume,  by  addition  of 
one  hundred  and  ten  choice  portraits  and  views; 
Zaehnsdorf  "  Library  Companion,"  large  paper, 
two  thick  volumes,  two  hundred  portraits  and  views 
inserted.  "Bibliomania,"  1842,  small  quarto,  two 
volumes  extended  to  four  by  the  addition  of  three 

278 


hundred  and  seventy  portraits,  views,  and  manu- 
script matter,  each  volume  prefaced  with  a  different 
portrait  of  the  author.  "Decameron,"  three  vol- 
umes extended  to  five  by  the  addition  of  five  hun- 
dred portraits,  views,  title-pages  of  early  printer, 
manuscript  matter,  facsimile  in  chromolithography 
of  illustrated  missals,  private  plates,  including  the 
extremely  rare  plate  by  Lewis  after  Veronese, 
"The  Presentation  in  the  Temple."  "Reminis- 
cences," large  paper,  two  volumes  extended  to 
four  by  the  addition  of  choice  portraits,  private  and 
otherwise,  views  and  autograph  letters,  about  four 
hundred  in  all.  "  Continental  Tour,"  three  vol- 
umes extended  to  six  by  the  insertion  of  nearly 
eight  hundred  portraits  and  views,  leaves  from  mu- 
tilated Books  of  Hours,  also  facsimiles  in  chromo- 
lithography of  Books  of  Hours,  fine  old  copper- 
plate portraits,  and  views  of  persons  and  places 
mentioned,  the  very  scarce  portrait  of  John  Elkins, 
which  represents  a  three  years'  crusade ;  scarce  por- 
trait of  Diane  de  Poitiers,  one  of  the  twelve  India 
proof  before  letter ;  private  portrait  of  Comte  de 
Brienne,  four  of  the  drawings  in  sepia  by  Lewis, 
the  artist  who  accompanied  the  Doctor  on  his 
tour ;  the  last  correspondence  between  Dibdin 
and  Lewis,  which  was  afterward  suppressed ;  a 
complete  set,  on  India  paper,  of  the  Lewis  etch- 
ings, a  goodly  number  in  duplicate;   until,  weary 

279 


of  the  cialage,  Mr.  Field  exclaims,  and  so  on  ad 
infinitimi. 

To  pass  from  one  collection  to  another  and  keep 
the  reader  unconscious  of  the  transition  is  a  task, 
we  fear,  vainly  attempted  in  this  volume ;  the  book 
presents  to  us  a  vexatiously  corrugated  surface.  In 
the  collection  last  named,  and  that  of  Mr.  Hamilton 
B.  Tompkins  of  New-York,  now  before  us,  there 
are  no  unpacific  relations,  and  yet  the  printer  will 
arrange  it  significantly  in  a  new  paragraph.  Mr. 
Tompkins  has  privately  illustrated  "  My  Lady  Po- 
kahontas,"  by  John  E.  Cooke  (Houghton,  Mifflin 
&  Co.),  by  the  insertion  of  over  fifty  prints,  with 
autograph  letter  of  author ;  inlaying  by  Lawrence, 
Sen.,  binding  by  Bradstreet.  Also  "Agnes  Sorel  et 
Charles  VH.,"  par  F.  F.  Steenackens  (Didier  et 
Cie.),  one  volume  extended  to  three  by  the  inser- 
tion of  three  hundred  and  sixty  portraits  and  views; 
bound  in  full  crushed  levant ;  inlaying  by  Theodore 
Hallett,  New- York.  "Caron  de  Beaumarchais:  His 
Life  and  His  Times,"  by  M.  de  Lomenie ;  illustrated 
by  about  sixty  engravings ;  half  levant.  Also 
"Franklin  in  France,"  by  Edward  Everett  Hale, 
two  volumes,  octavo,  extended  to  eight  volumes  by 
the  insertion  of  nearly  one  thousand  portraits  and 
views;  inlaying  by  Lawrence,  Jr.,  and  Theodore 
Hallett.  Mr.  Tompkins  has  others  which  he 
prefers  not  having  mentioned. 

280 


Hon.  William  H.  Arnoux  of  New-York  is  mak- 
ing progress  prudently  but  surely  in  the  art  of 
privately  illustrating  books.  He  little  dreamed, 
probably,  while  searching  print-shops  and  selecting 
the  two  hundred  and  eight  engravings  after  paint- 
inofs  of  the  old  masters  with  which  to  illustrate 
Cassell's  "Child's  Bible"  as  an  art  educator  for 
the  younger  members  of  his  family,  that  he  was  ex- 
posing himself  upon  infected  territory  ;  such,  how- 
ever, appears  to  be  the  truth,  for  since  his  experience 
with  the  Bible  he  has  modestly  illustrated  George 
Ticknor's  "Life"  of  the  great  historian  William 
H.  Prescott,  extending  it  to  two  stout  volumes  by 
the  insertion  of  eighty-six  prints,  besides  autograph 
letters.  The  prints  comprise  portraits  and  views. 
Also  "Literature  in  Letters,"  by  Holcomb.  This 
work  has  been  extended  to  two  volumes  by  the  in- 
sertion of  one  hundred  and  forty  prints,  consisting 
of  portraits  and  views.  Also  "A  New  Life  of  Her- 
cules," by  Irving  Browne;  only  two  copies  printed. 
This  is  illustrated  by  sixty-three  steel  illustrations 
and  many  woodcuts,  principally  representing  the 
gods  and  goddesses  of  the  Greek  Pantheon  ;  bound 
in  crushed  levant  by  Riviere,  London. 

Judge  Arnoux  is  now  engaged  in  illustrating  a 
work  of  his  own,  "The  Dutch  in  America."     This 
will  make  a  very  interesting  work ;   the  field  of  il- 
lustration   will    embrace    all  the    explorers,    great 
19  281 


discoverers,    and    emperors    of  the    fifteenth    and 
sixteenth  centuries. 

We  have  shown  in  another  chapter  of  this  volume 
that  the  great  bulk  of  private  illustrating  has  been 
performed  by  busy  men,  with  strong  emotional 
temperaments,  who  have  an  enthusiasm  for  the 
work,  and,  to  a  certain  degree,  are  reckless  in  the 
use  of  money  where  it  may  aid  in  giving  expression 
to  their  idealism  in  the  beautiful.  But  impassive 
and  calculating  men  will  never  perform  any  marvels 
in  book-illustrating.  The  man  who  hesitates  and 
calculates  the  per  centum  yield  of  his  money  before 
investing  it  in  the  pleasurable  indulgence  will  never 
accomplish  anything  for  himself  or  humanity  in  this 
department  of  art.  A  privately  illustrated  "Wal- 
ton's Angler  "  can  have  no  companionship  with  a 
book  of  interest  tables. 

Henry  T.  Drowne  of  New-York,  although  most 
emphatically  a  man  of  business,  has  given  some 
of  his  life  —  voluptati  obsequens  —  to  the  alluring 
passion.  He  has  extra-illustrated  "  New- York  Let- 
ters in  the  Revolution,"  printed  by  the  Mercan- 
tile Library  Association;  "The  Sons  of  Rhode 
Island  in  New-York";  Freneau's  "Poems  of  the 
Revolution";  also  "  Types  of  Mankind,"  in  memo- 
riam  of  Samuel  G.  Morton;  "Journal  of  a  Cruise, 
in  the  Fall  of  1780,  in  the  Private  Sloop  of  War 
Hope,"  by  Solomon  Drowne,  M.  D.,  of  Providence, 

282 


R.  I.,  with  notes  by  H.  T.  Drowne,  1872;  also  "A 
Memoir  of  Lieut.-Col.  Samuel  Ward,"  by  Col.  John 
Ward;  Mrs.  Jameson's  "Common-Place  Book  of 
Thoughts,  Memoirs,  and  Fancies  " ;  Major  Simon 
Thayer's  "Journey  to  Quebec  in  1775-6";  "Visits 
to  the  Last  Homes  of  Poets,  Painters,  and  Play- 
ers," by  T.  J.  Grimstead ;  also  "  Proceedings  of  the 
Society  of  the  Cincinnati  for  New-York,  Massa- 
chusetts, and  Rhode  Island  respectively";  "Our 
French  Allies,"  by  Rev.  Edwin  M.  Stone;  with  some 
others.  Mr.  Drowne's  inlaying  was  by  Moreau 
and  Trent. 

Mr.  Drowne's  library  outside  of  his  illustrated 
works  makes  some  pretensions  to  the  classical.  He 
has  some  missals,  "  Suetonius  "  of  1480,  about  sixty 
editions  of  "Horace,"  and  many  curious  old  editions 
of  "  Homer." 

Dr.  Charles  E.  Banks,  Surgeon  in  the  United 
States  Marine  Hospital,  formerly  of  Boston,  now 
stationed  at  Vineyard  Haven,  Mass.,  has  been 
very  methodical  in  his  illustrating.  He  seems  to 
have  commenced  under  a  well-digested  system  to 
complete  an  illustrated  history  of  the  Englisli 
sovereigns  and  their  reigns  in  chronological  order, 
beginning  with  Henry  VIII.,  and  extending  to  the 
present.  He  has  completed  many  books  embraced 
historically  within  this  period  of  three  hundred 
years,  and  has  many  yet  unfinished.     He  has  also 

283 


taken  up  the  "History  of  the  United  States,"  which 
he  is  treating  in  the  same  orderly  manner. 

Amonof  his  extra-illustrated  books  are:  "The 
Iron  Mask,"  by  G.  J.  A.  Ellis,  illustrated  by  the 
insertion  of  thirty-six  quaint  prints,  bound  in  black 
crushed  levant,  antique  pattern,  by  Sanford,  Boston ; 
also  "The  Spanish  Armada,"  by  Theo.  Lathbury, 
fifty-six  illustrations  added,  bound  by  Cox  of 
Chicago  in  red  crushed  levant;  "Colonel  Alex- 
ander Rigby,"  by  Charles  E.  Banks,  only  fifty 
copies  printed,  thirty  prints  added,  bound  by  Riach, 
London;  "Prince  Charles  Edward  Stuart,"  by  C. 
L.  Close,  in  two  volumes,  with  one  hundred  and 
forty-six  illustrations  inserted,  with  unique  proof  of 
private  plate  of  Miss  Walkinshaw,  the  Pretender's 
mistress,  Stuart  tartan  silk  covers;  "Counterblast 
to  Tobacco,"  by  King  James  I.,  sixteen  curious 
prints  inserted. 

"Fragmenta  Regalia,"  by  Sir  Robert  Naunton, 
fifty-four  illustrations  added,  bound  in  blue  crushed 
levant,  by  Sanford;  "Gunpowder  Plot,"  by  David 
Jardine,  one  hundred  and  nineteen  prints  inserted ; 
"Life  of  Judge  Jeffreys,"  by  H.  W.  Woolrych, 
with  seventy-five  prints  added,  bound  in  blood- 
red  crushed  levant,  design  after  Clovis  Eve,  by 
Sanford;  "Court  of  James  L,"  by  Lucy  Aiken, 
two  volumes,  one  hundred  and  forty-five  prints 
inserted;  "Life  of  William  III.,"  by  Arthur  Trevor, 

284 


two  volumes,  with  ninety-six  added  illustrations, 
bound  by  Cox- in  orange  crushed  morocco;  also 
Sir  Philip  Warwick's  "  Charles  I.  " ;  J.  S.  Clark's 
"Life  of  James  II.,"  two  volumes;  Wright's  "Four 
Georofes,"  two  volumes;  Burton's  "  Oueen  Anne," 
three  volumes ;  Wright's  "  William  IV.,"  two 
volumes;  Bayley's  "History  of  the  Tower,"  and 
Stanhope's  "  Mary  Queen  of  Scots,"  two  volumes. 
These  volumes  contain  a  great  many  odd  and 
out-of-the-way  prints,  and  portraits  of  persons 
prominently  named.  Here  is  also  J.  R.  Green's 
"  History  of  the  English  People,"  four  volumes,  into 
which  have  been  put  over  four  hundred  choice 
selected  modern  prints,  not  one  of  which  has  been 
inlaid — a  lot  of  culled  portraits,  the  doctor  assures 
us,  that  he  has  specially  chosen  for  this  J>2ece  de 
resistaiice. 

Among  the  works  on  America  are  George  Ban- 
croft's "  History  of  the  United  States,"  with  four 
hundred  portraits  and  views  inserted ;  also  John 
Gorham  Palfrey's  "History  of  New  England"; 
"  Life  of  H.  W.  Longfellow,"  by  Samuel  Long- 
fellow, two  volumes,  with  two  hundred  and  ninety 
illustrations  added,  with  autograph  letter  of  the 
poet,  and  many  water-color  drawings  made  for  the 
book,  also  specially  etched  portraits;  "Siege  of 
Boston,"  Richard  Frothingham,  ninety  prints  and 
etched  plates  added  ;   "  Death  of  Major  Andre,"  by 

285 


J.  H.  Smith,  twenty-one  prints  added,  bound  in 
red  crushed  levant  by  Huse,  Boston;  "  Mihtary 
Journal  of  the  Revolution,"  by  James  Thatcher, 
M.  D.,  illustrated  by  one  hundred  and  four  por- 
traits of  American  officers  exclusively,  bound  by 
Hathaway  in  red  crushed  levant. 

Dr.  Banks  has  also  several  hundred  portraits  of 
physicians  and  surgeons,  and  many  views,  to  illus- 
trate Baas's  "History  of  Medicine";  Fairholt's  "To- 
bacco," with  many  views  of  smoking  and  smokers, 
water-colors,  sepia  drawings,  India-ink  sketches, 
etc.,  made  especially  for  the  work ;  Brander  Mat- 
thews's  "  Ballads  of  Books,"  with  many  water-color 
portraits  and  special  India-ink  and  sepia  designs  in 
the  text  as  tail-pieces  appropriate  to  the  subject; 
Chatto's  "Playing  Cards";  "The  Gold-Headed 
Cane,"  by  William  Monk,  M.  D.,  with  eighty  por- 
traits of  the  medical  profession  added,  bound  by 
Hathaway  in  green  crushed  levant. 

The  above  compose  the  principal  part  of  a  col- 
lection of  privately  illustrated  books  distinguished 
among:  other  excellent  traits  in  being:  illustrated  on 
a  common- sense  basis,  and  in  the  author  having 
had  a  decided  purpose  to  accomplish'  from  the 
.  beginning. 


286 


CHAPTER   VI. 

Anonymous  Bachelor.  William  T.  Horn. 
Edmund  C.  Stedman.  Charles  H.  Bell.  W. 
M.  F.  Round.  James  T.  Mitchell.  Andrew  D. 
White.  O.  S.  A.  Sprague.  Elisha  Turner. 
Norton  O.  Pope.  Mrs.  Norton  O.  Pope. 
Charles  Henry  Hart.  Robert  Lenox  Ken- 
nedy. Edward  Kindberg.  Frederic  R.  Mar- 
vin.    Charles  H.   Baxter. 


HERE  is  one  extraordinary  collection  of 
privately  illustrated  books  visited  by  us 
which,  contemplated  from  the  standpoint 
of  modern  cultivated  society,  our  personal  choice 
would  be  to  leave  unchronicled.  But,  regardless 
of  what  may  be  our  like  or  dislike  in  the  premises, 
the  fact  of  the  impurity  and  indelicacy  of  manners 
and  literature  during  a  period    immediately   pre- 

287 


ceding  our  own  remains;  and  yet  that  literature, 
with  all  its  foulness,  was  better  than  the  age,  and 
that  it  had  a  refining  influence  upon  the  grossness 
of  society  of  the  period  is  a  demonstrable  histori- 
cal fact.  There  is  not  a  volume  in  this  dilettante 
collection,  however,  which  is  not  of  the  highest 
value  and  interest  to  the  scientist,  scholar,  and  the 
man  of  culture,  but  whose  estimate  of  its  moral 
worth  is  based  entirely  upon  a  modern  appraise- 
ment. The  collection,  however,  lies  directly  in 
the  path  before  us,  and  as  historians  and  monog- 
raphists  there  is  nothing  to  justify  us  in  going 
out  of  our  way  to  escape  or  pass  over  in  silence 
the  literature  of  any  period  lying  within  our  do- 
main—  not  more,  at  all  events,  than  there  would 
be  to  excuse  the  ethnological  savant  should  he 
omit  those  periods  in  the  history  of  our  race  in 
which  our  prognathic  ancestors  were  cave-dwellers 
and  cannibals,  and  contended  on  equal  terms  with 
the  wild  hog  for  acorns  which  fell  from  the  trees, 
simply  because  such  customs  are  distasteful  to  our 
modern  civilization. 

The  revelations  of  science  and  history  are  fre- 
quently at  variance  with  the  tone  of  modern  society, 
but  irregularities  of  this  character  ought  not  to  lead 
us  to  repudiate  the  shortcomings  of  our  ancestors 
or  obliterate  the  path  up  which  they  toiled,  nor  to 
pull  down  the  memorials  erected  by  them  on  the 

288 


wayside.  There  is  an  irresistible  impulse  in  our 
natures  to  look  backward,  since  in  the  main  all  the 
culture  and  refinement  of  the  present  had  its  birth 
in  the  past,  and  is  inseparably  connected  with  the 
future  by  a  continuous  chain  of  progressions,  of 
which  our  attainments  constitute  the  connecting 
link.  Whatever  the  prudishness  of  the  present 
age,  the  next  generation  will  certainly  condemn  it 
for  vulgarity.  We  should  therefore  be  a  little 
tolerant  of  the  misjudgment  of  our  ancestors,  in 
the  presence  of  the  fact  that  the  sons  of  Africa 
were  bouofht  and  sold  like  cattle  with  the  sanction 
of  our  beloved  Washington  and  without  the  disap- 
proval of  Whitefield ;  and  even  Englishmen  were 
sold  into  slavery  by  Cromwell  and  the  Puritans. 
Quakers  were  imprisoned  in  England  and  hanged 
in  America.  Cranmer  permitted  the  rack,  and 
Bacon  talked  coolly  ^hont  forcipation  and  simple 
burnine.  Old  women  were  burned  or  drowned  as 
witches,  the  wise  and  good  Hale  not  objecting. 
Every  period  has  been  equally  positive  about  the 
propriety  of  its  acts. 

There  are  no  infallible  standards  of  purity  and 
erace  in  literature  or  manners  which  will  endure 
the  tests  of  time.  We  can  have  no  fellowship 
with  that  paradoxical  philosophy  which  maintains 
"that  evil  is  to  him  only  who  evil  thinks" — "to 
the  pure  all  things  are  pure" — omnia  bona  bonis, 

289 


for  we  know  that  corrupt  manners  and  corrupt  lit- 
erature exist,  and  we  are  but  too  happy  in  being 
able  to  demonstrate,  through  the  modern  methods 
of  the  Comparative  Sciences,  that  there  has  been 
great  advancement  in  the  purity  of  the  morals,  lit- 
erature, and  art  of  the  present  age  over  those 
preceding,  and  we  indulge  the  hope  that  the  future 
will  excel  the  present.  "Let  us  then,"  says  Mrs. 
Anna  Jameson,  "measure  our  advance  by  keeping 
the  old  landmarks  in  view." 

We  believe,  however,  in  treating  this  subject 
with  all  candor.  Every  effort  to  evade  or  mask 
important  historical  facts  in  our  respective  and 
special  lines  of  research  must  end  in  disappoint- 
ment. The  facts  will  be  reached,  and  condemnation 
may  follow  our  efforts  to  withhold  them. 

Dr.  Bartol,  the  great  Boston  preacher,  said  that 
"it  had  been  left  for  the  nineteenth  century  to  dis- 
cover that  even  a  horse  would  o-o  better  without 
blinders  than  with."  However,  apart  from  all 
debate  in  the  matter,  we  appeal  unto  Csesar ;  let 
us  be  judged  by  Caesar's  laws. 

The  collection  of  books  to  which  we  have  re- 
ferred, and  from  which  we  purpose  selecting  a  few 
volumes  only  for  exhibition  here,  is  that  of  a  gen- 
tleman whose  residence  is  just  out  of  the  city.  He 
is  a  bachelor  and  a  man  of  high  literary  and  social 
standing,   and  while  a  free  use  of  his  books  has 

290 


been  accorded  to  us,  his  name,  for  obvious  reasons, 
has  been  withheld  from  this  relation/ 

The  introduction  here  of  this  small  but  ornate 
collection  of  illustrated  books  is  chiefly  to  outline 
the  g-reat  breadth  of  literary  territory  which  pri- 
vate illustrators  have  covered  in  this  pursuit. 
And  this  being  a  unique  class  of  literature,  its  im- 
portance in  this  respect  is  quite  manifest.  It  is 
claimed  by  the  owner  that  these  books  form  no 
part  of  his  recognized  library,  but  that  they  are 
simply  treasured  as  souvenirs  of  a  class  of  literati 
who  have  now  happily  become  extinct. 

The  first  book  placed  before  us  is  Boccaccio's 
"Decameron,"  in  two  volumes,  extended  to  four  by 
the  insertion  of  two  hundred  and  thirty  prints 
characteristic  of  the  text  and  the  illustrations  pub- 
lished with  the  edition,  except  that  they  are  drawn 
with  a  freer  and  more  ecstatic  hand.  It  is  beyond 
all  contrast  the  most  voluptuous  book  that  we  have 
ever  seen.  Here  is  also  the  quarto  edition  of 
R.    Payne    Knight's    "Essay  on    the  Worship   of 

1  It  seems  strange  that  a  great  book-collector  should  be  able  to  preserve 
his  individuality  undiscovered  in  a  great  city  like  New-York,  while  there  are 
so  many  interested  in  dragging  him  from  his  seclusion  and  placing  him  be- 
fore the  world.  There  appears  a  kind  of  fascination  in  associating  incognito 
with  the  world.  Mr.  Sabin  tells  us  of  two  characters,  Mr.  Pennfeather 
and  Mr.  Hornblower,  who  frequented  the  auction  sales  of  fine  books,  none 
others  or  none  but  the  rarest  apparently  tempting  them,  and  for  which  they 
frequently  paid  enormous  prices,  to  the  discomfiture  of  all  other  buyers.  Mr. 
Sabin  says  a  mystery  hangs  about  these  men  which  he  has  never  been  able  to 
dispel.  He  never  knew  them,  but  he  suspects  that  both  these  windy  names 
represent  New-York  collectors. — Bibliopolist. 

291 


Priapus,"  extended  by  illustrations  of  the  highest 
scientific  significance  to  two  bulky  volumes.  It  is 
a  beautifiil  and,  in  all  candor  we  must  say,  a  worthy 
book,  of  incalculable  value  to  the  historian  and 
antiquarian.  The  original  edition  has  become 
very  scarce.^  A  copy  bound  by  Bedford  sold  for 
$150  in  this  country.  We  also  found  here  the 
celebrated  "  Secret  Cabinet  of  the  Royal  Museum 
at  Naples,"  illustrated  with  eighty  additional  draw- 
ings of  objects  in  the  museum  by  Italian  artists, 
and  of  some  of  the  more  recent  discoveries  at 
Herculaneum  and  Pompeii.  This  is  also  an  ad- 
mirable book  and  a  noble  contribution  to  ethno- 
logical science.  If  the  scientific  plea  is  an  apology 
for  originally  putting  such  a  book  before  the  world, 
and  we  deem  that  it  is,  then  is  the  illustrator  to  be 
highly  commended  in  extending  the  same  class  of 
information  tenfold. 

The  next  volume  we  lay  our  hands  upon  is  a  large- 
paper  edition  of  Grammont's  "  Memoirs  of  Charles 
11.,"^  and  in  fraternizing  proximity  therewith  a  copy 

1  An  account  of  the  Remains  of  the  Worship  of  Priapus  lately  existing  at 
Isernia  in  the  Kingdom  of  Naples;  also  two  letters,  one  from  Sir  William 
Hamilton,  K.  B.,  and  the  other  from  a  person  residing  at  Isernia;  to  which 
is  added  a  Discourse  of  the  Worship  of  Priapus  and  its  connection  with 
the  Mystic  Theology  of  the  Ancients.  Rich*!-  Payne  Knight,  F.  R.  S., 
London,  1876. 

2  What  a  state  of  society  is  exposed  in  these"  Memoirs  "of  Grammont.  How 
vividly  the  facts  and  court  anecdotes  are  here  set  forth.  We  can  almost  see 
Charles,  when  he  was  expected  at  a  pageant,  stealing  away  to  row  himself 
down  the  river,  and  if  he  found  not  the  garden  gate  open,  climb  over  the  wall 
to  surprise  my  lady  this  or  that  at  her  toilet. 

292 


of  Peter  Cunningham's  "Life  of  Nelly  Gwyn,"  the 
latter  with  extremely  characteristic  prints  illustrat- 
ing some  of  the  frailties  of  her  eventful  career.  She 
is  called  "pretty  Nelly  "  in  Lely's  portrait,  and  by 
the  same  endearing  title  in  the  "  spoony"  raptures 
of  Pepys.^  Here  we  also  have  Wenzel  Hollar's 
"Celebrated  Courtesans  of  the  Time  of  Charles 
II.,"  in  two  folio  volumes.  The  picture  drawn  by 
John  Evelyn  of  the  profligacy  which  hovered  around 
the  throne  of  England  during  the  reign  of  the 
"merry  monarch"  is  a  deplorable  one  indeed. 
The  above-named  work  of  Hollar  contains,  among 
other  curious  matter,  some  prints  from  mutilated 
and  destroyed  plates,  a  phase  or  freak  of  the  print- 
collector  to  which  we  have  had  no  occasion  hereto- 
fore to  refer.  An  impression  from  an  unfinished 
or  condemned  plate,  on  account  of  which  defect  it 
is  absolutely  worthless,  will  many  times  fetch  ten 
times  as  much  as  the  perfect  print.  Thus  the  por- 
trait of  the  "Gold  Weigher,"  by  Rembrandt,  in  its 
first  state,  the  face  only  in  outline,  sold  in  1864  for 
$225  ;  the  ordinary  impression  would  be  well  sold 
at  $50.  An  unfinished  print  of  "  St.  Jerome  Read- 
ing" sold  in  1873  at  a  print  sale  for  $215  ;  the  fin- 

1  "  The  wench  was  witty  and  pretty,  had  a  comic  genius,  grace,  brass,  mirth, 
and  albeit  good-natured,  her  tongue  was  cutting.  Her  figure  was  so  elegantly 
feminine  that  she  could  wear  men's  clothes  with  advantage.  Originally  she  was, 
it  is  said,  a  dancing-girl  in  a  show.  She  had  simultaneously  for  lovers  the  Earl 
of  Dorset,  whom  she  playfully  called  her '  Charles  number  one ';  Hart,  the  actor, 
who  was  her  '  Cliarles  number  two ' ;  and  the  king,  who  was  her  'Old  Rowley.' " 


ished  print  fetched  only  a  few  shillings.  There 
are  impressions  of  some  of  Jacob  Houbraken's 
plates  taken  just  after  the  borders  and  vignettes 
were  done,  but  before  the  portrait  was  engraved, 
for  which  collectors  have  paid  large  sums.^ 

Here  also  is  "Amadis  of  Gaul" — a  famous  Portu- 
guese romance,  by  Lobeira,  translated  into  Spanish 
and  added  to  by  Montalvo,  rendered  into  French  by 
the  Lord  of  Essars,  Nicholas  de  Herberay,  who  en- 
larged it,  and,  lastly,  by  Gilbert  Sannier,  who  added 
to  it — and  now  done  into  an  English  abridgment  by 
Robert  Southey:  the  English  garment  having  about 
as  much  fitness  for  it  as  the  Hebrew  for  the  rendering 
of  a  negro  plantation  song.     And  now  "La  Pucelle 

1  There  is  a  print  by  Hollar  of  a  man  standing  in  a  landscape,  with  a  place 
left  blank  where  the  head  should  be;  it  was  afterward  filled  in  with  Charles 
II.  The  first  state  is  valued  at  four  times  as  much  as  the  finished  picture. 
One  of  the  portraits  in  the  Waterloo  Chamber  at  Windsor  Castle,  of  the 
Minister  William  Von  Humboldt,  in  which  the  body  does  not  match  the 
head,  was  painted  by  Sir  Thomas  Lawrence,  and  has  the  head  of  Von 
Humboldt  on  the  body  of  Lord  Liverpool.  The  head  was  painted  in  a  hurry, 
and  the  artist  intended  to  change  it  afterward,  which  was  never  done,  and 
this  ridiculous  picture  of  Humboldt  in  a  purple  coat  has  remained  ever 
since.* 

More  singular  still  has  been  the  struggle  for  a  print  of  a  full-length  portrait 
of"  Mull'd  Sack,"  a  chimney-sweeper,  which  was  sold  to  the  Marchioness  of 
Bath  for  $212,  and  which  she  sold  for  $300  ;  since  then  two  others  have  been 
found  and  the  price  has  declined.  The  name  of  this  distinguished  rogue  was 
John  Cottington.  When  a  boy  he  was  apprenticed  to  a  chimney-sweeper, 
but  he  ran  away  and  became  a  thief.  Among  his  exploits  he  robbed  Lady 
Fairfax  of  a  gold  watch,  picked  Oliver  Cromwell's  pocket  as  he  was  coming 
out  of  the  House  of  Commons,  and  stole  from  the  Recorder-General's  house 
at  Reading  property  worth  $7000.  Having  some  difficulty  with  another 
thief  named  John  Bridges,  he  murdered  him,  fled  the  country,  and  went  to 
Cologne,  where  he  robbed  Charles  1 1.,  then  in  exile,  of  plate  to  a  large  amount, 

~  Numerous  other  instances  might  be  related,  as  Charles  II.  changed  to  Cromwell,  and 
Cromwell  to  William  III.  (by  Faithome). 

294 


of  Frangois  Arouet  Voltaire,"  by  Didot  le  Jeune, 
two  volumes,  large  paper,  extended  to  four  by  the 
insertion  of  four  hundred  engravings,  including 
forty-six  portraits  of  Voltaire  and  sixteen  of  Joan 
of  Arc,  and  both  of  the  exquisite  sets  of  Moreau, 
all  brilliant  impressions.  This  magnificent  work  is 
bound  in  red  polished  levant  by  David,  and  cost  its 
present  owner  $820.  The  fastidiousness  of  the 
present  age  can  see  nothing  but  the  prying  beast- 
liness of  a  satyr  in  this  work;  yet  the  pure  and 
punctilious  Condorcet  defended  it,  and  compared 
to  the  fulsome  imaginings  of  Diderot  this  creation 
of  the  patriarch  of  Ferney  is  purity  itself^  Nor 
does  the  life  of  Voltaire  seem  to  merit  the  obloquy 

and,  returning  to  England,  was  apprehended,  tried, convicted,  and  executed  at 
Smithfield,  April,  1659.  He  acquired  the  nickname  of  MuU'd  Sack  from  his 
fondness  for  that  liquor.  This  print  has  no  status,  moral  or  artistic,  and  the 
desire  to  possess  a  perpetual  memorial  of  this  nasty  rascal  involves  a  problem 
which  cannot  be  put  in  equation  by  my  philosophy. 

1  Decorum  in  sentiment  and  expression  was  little  known  at  that  time. 
The  great  Rabelais  indulged  in  fearful  indecencies,  and  Chaucer  wrote  in  the 
spirit  of  his  time,  and  therefore  very  coarsely  indeed.  But  that  does  not  pre- 
vent the  unprejudiced  critic  from  acknowledging  that  his  humorous  tales, 
though  they  abounded  in  obscenities,  are  his  best. —  English  Literature,  Dr. 
Scherr. 

Warton  excuses  Chaucer's  obscenity,  which  he  charges  to  the  spirit  of  the 
time  in  which  the  poet  lived.  "  We  are  apt  to  form  romantic  and  exaggerated 
notions  about  the  moral  innocence  of  our  ancestors.  Ages  of  ignorance  and 
simplicity  are  taught  to  be  ages  of  purity.  The  contrary  is  probably  the 
truth.  Rude  periods  have  that  grossness  of  manners  which  is  not  less  friendly 
to  virtue  than  luxury  itself.  In  the  middle  ages  not  only  the  most  flagrant 
violations  of  modesty  were  frequently  practised  and  permitted,  but  the  most 
infamous  vices.  Men  are  less  ashamed  as  they  are  less  pohshed.  Great 
refinement  multiplies  criminal  pleasures,  but  at  the  same  time  prevents  the 
actual  commission  of  many  enormities  ;  it  preserves  at  least  public  decency 
and  suppresses  public  licentiousness.  Puritanism  failed,  however,  to  make 
the  English  nation  a  commonwealth  of  saints." 


with  which  certain  modern  censors  have  endeavored 
to  envelop  it.  Even  the  ingenious  Henry  Morley 
recognized  his  right  to  immortaHty  in  erecting  to 
him  a  "written  statue,"  an  act  itself  highly  com- 
mendable, yet  he  performed  it  with  a  rough  chisel. 
Voltaire  stood  alone  in  his  age ;  in  fact,  no  man  in 
any  age  held  precisely  the  same  relations  to  the  world 
as  he  —  his  life  was  the  history  of  the  eighteenth 
century.  All  posterity  have  quarreled  with  him 
because  his  moral  doctrines  did  not  rise  higher,  but 
they  did  not  fall  lower  than  the  average  practice 
of  his  age.  One  peculiarity  of  his  position  toward 
powers  and  dignities  all  through  his  life  was  that 
from  some  real  or  fancied  cause  he  was  persecuted 
by  authority — but  as  a  compensation  he  was  petted 
by  high  society,  lay  and  clerical.  His  writings  and 
genius  were  always  in  fashion,  though  always  con- 
traband, and  the  taint  still  adheres  to  them.  He 
had  allies  among  the  learned  and  dignified  clergy, 
and  the  leading  literati yNQ.r^  his  compeers;  he  was 
detested  by  the  second-rate  men  of  letters,  to  whom 
his  superiority  was  of  course  odious. 

It  is  to  be  noted  that,  in  all  his  many  quarrels 
with  authors,  Voltaire  was  rarely  if  ever  the 
aggressor.  Once  aroused,  his  wrath  was  immea- 
surable, his  revenge  unscrupulous  and  too  often 
implacable.  We  think  we  discover  models  of  his 
sarcasm   in   Pope.     The   Abbe   Desfontaines,   the 

296 


Marquis  Lefranc  de  Pompignan,  and  Elie  Catha- 
rine Freron  suffered  as  it  were  at  second  hand ; 
but  it  was  by  an  aggravated  imitation  of  the  light 
artillery  which  had  been  brought  against  Grub- 
street  and  the  sorry  heroes  of  the  "  Dunciad." 

In  short,  it  may  be  said  of  him  that  he  was 
nearly  always  in  hot  water,  but  he  supplied  the 
fuel  that  heated  it.  Voltaire  has  been  charged 
with  irreligion,  but  the  irreligion  of  the  age  was 
far  beyond  him.  He  was,  nevertheless,  the  idol  of 
the  French  nation,  and  there  is  not  a  man  of  book- 
culture  in  all  Paris  but  would  lavish  decorations 
upon  '*  La  Pucelle"  for  Voltaire's  sake,  and,  indeed, 
copies  of  it  may  be  found  glittering  upon  the 
shelves  of  every  bibliophile  in  France,  some  illus- 
trated with  prints  of  the  strictest  chastity,  others 
with  designs  from  Moreau,  or  maybe  more  licen- 
tious origfinals  out  of  which  the  differentiation  of 
a  pure  morality  would  be  an  awkward  process, 
indeed.  However,  Voltaire  is  certainly  not  respon- 
sible for  the  taint  of  his  illustrators.  Nor  is  this 
imprudent  devotion  confined  to  Paris ;  it  has  its 
premiers  in  London,  and  its  satraps  in  the  me- 
tropolis of  the  New  World. 

There   is   another  tempting    little   book  in  this 

collection  —  a  large  duodecimo,  published  in  1709. 

The    second    edition   is   in   two   volumes,    entitled 

"The   Secret  Memoirs   and    Manners  of  Several 

^  297 


Persons  of  Quality  of  both  Sexes," ^  or  "The  New 
Atalantis,"  by  Mrs.  De  la  Riviere  Manley.^ 

This  work  had  a  political  significance,  and  was 
mixed  with  cutting  satire  directed  against  the 
Whigs. 

One  more  example  of  a  character,  id  genus  omne, 
and  we  will  retire  to  a  purer  atmosphere.     The  ex- 

1  Among  the  persons  under  disguised  names  who  were  mentioned,  scandal- 
ized, and  portraitured  in  this  notorious  book  were  Charles  Seymour  (Duke  of 
Somerset),  Sir  Robert  Howard,  Lady  Wharton,  William  Cavendish  (Duke  of 
Newcastle),  Lady  Mary  Vere,  Charles  Lennox  (Duke  of  Richmond),  Earl  of 
Nottingham,  Mrs.  Darby,  Duke  of  Grafton,  Sir  Lsaac  Newton,  Sir  Samuel 
Garth,  M.  D.,  James  IL  (Duke  of  York),  Mrs.  Young,  Charles  IL,  Queen 
Anne,  George  Villiers  (Duke  of  Buckingham),  James  Scott  (Duke  of  Mon- 
mouth), Earl  of  Portland,  Robert  Barclay,  Mrs.  Hammond,  Mrs.  Steele,  Sir 
William  Cooper,  Prince  of  Orange,  Mrs.  Howard,  maid  of  honor  to  Mary; 
John  Churchill  (Duke  of  Marlborough),  Sir  Richard  Blackmore,  M.  D.  ; 
Lady  Hyde  (Countess  of  Rochester),  Mrs.  Granville  (Lady  Lansdowne),  and 
Sir  Robert  Howard's  widow,  of  whom  it  may  be  said  — 

"  The  pleasure  missed  her,  but  the  scandal  hit." — Pope. 

2  Mrs.  De  la  Riviere  Manley  (born  1672),  the  Aspasia  of  the  eighteenth 
century,  was  the  daughter  of  Sir  Roger  Manley,*  who,  if  entitled  to  no  other 
credit,  is  to  that  of  educating  his  daughter,  who  lost  her  mother  at  an  early 
age.  At  the  age  of  seventeen  the  fairy  realm  in  which  the  maiden  had 
hitherto  lived  was  knocked  to  pieces,  and  the  rude  world  came  upon  her  in  a 
storm  of  misery  and  shame.  Her  cousin,  a  son  of  Sir  Roger's  brother, —  a 
fellow  evidently  beyond  the  bounds  of  forgiveness,  for  he  had  borne  arms 
against  the  King, —  had  been  false  to  Church  and  Crown,  and  was  now  false 
to  beauty  and  honor.  Under  what  base  pleas,  and  by  what  intolerable  arts, 
he  obtained  his  object,  we  need  not  inquire ;  but  La  Riviere  found  herself, 
with  blighted  reputation  and  broken  heart,  thrown  entirely  on  her  own 
resources.  She  became  a  favorite  with  the  Duchess  of  Cleveland,  at  that 
time  the  sovereign  mistress  of  Whitehall,  and  perhaps  excited  her  wonder  as 
much  by  the  correctness  of  her  behavior  as  by  the  quickness  of  her  repartee. 
But  the  Duchess  was  as  capricious  in  her  female  friendships  as  in  love,  and 
ere  six  months  elapsed  became  jealous  of  the  talents  and  beauty  of  La  Ri- 
viere, and  led  a  crusade  against  her  —  a  happy  circumstance  for  the  object  of 
her  hate.  Excluded  from  both  the  hemispheres  into  which  the  habitable 
globe  of  society  was  at  that  time  divided,  she  betook  herself  to  the  point 

*  Sir  Roger  Manley  was  author  of  the  first  volume  of  "The  Turkish  Spy,"  author  of 
"The  Jealous  Husband,"  "  Letters  from  a  Supposed  Nun  in  Portugal,"  "  Court  Intrigue," 
"  Bath  Intrigues,"  etc. 

298 


ample  to  which  we  refer  is  a  work  entitled  "Oroo- 
noko,  the  American  Princess,"  by  Mrs.  Aphra  Behn.^ 
If  any  doubt  remains  as  to  the  true  character  of 
Mrs.  Manley,  there  need  be  none  concerning  the 
latter  authoress.  There  was  no  middle  ground 
between  the  temples  of  Venus  and  Diana  with  this 
priestess  of  impurity  and  vice.     The  slightly  veiled 

where  both  were  united,  and  sent  a  tragedy  to  the  theater.  It  was  received, 
with  universal  acclamation,  and  her  name  became  a  household  word  in  the 
assemblies  of  wit  and  fashion.  The  authoress  of  "The  Royal  Mischief" 
achieved  an  entrance  into  another  and  higher  circle,  where  everything  was 
forgiven  to  the  possessor  of  genius,  but  where,  probably,  the  only  difference 
between  the  poetess  and  the  purest  of  her  admirers  was  that  she  had  been 
discovered  and  they  had  not.  How  long  this  lasted,  we  are  not  told ;  but 
she  came  out  in  a  new  character  when  the  curtain  drew  up  again.  Disappointed 
in  love,  and  soured,  perhaps,  by  the  docility  with  which  her  self-sacrificing 
advice  had  been  followed,  she  became  a  politician  of  the  most  rabid  kind,  and 
wrote  libels  on  the  ministry,  for  which  she  was  brought  up  in  custody  before 
the  Secretary  of  State.  Her  book  was  called  "  A  New  Atalantis,"  and  con- 
tained the  most  ferocious  assaults  on  her  political  opponents  under  false 
names.  Bitterness  and  hatred  were  so  characteristic  of  these  lucubrations 
that  they  moved  the  sympathetic  feelings  of  the  great  satirist  and  traducer  of 
the  day.  Dean  Swift,  the  essence  of  whose  nature  was  contradiction,  and 
unsparing  satire  the  tendency  of  his  talent.  He  extended  the  hand  of  fellow- 
ship to  the  equally  fierce  but  less  malicious  Mrs.  Manley.  In  him  she  recog- 
nized the  immorality  which  had  won  her  earlier  admiration  in  man,  and  she 
clung  to  that  impure  concentration  of  humor  as  her  protection  against  the 
humanities  of  the  "  Tatler"  and  the  frigidity  of  "  Cato. "  The  list  of  her  plays 
is  as  follows:  "The  Royal  Mischief,"  "The  Lost  Lover;  or,  The  Jealous 
Husband,"  "  Almyna,  or.  The  Arabian  Vow,"  and  "  Lucius,  the  First  Chris- 
tian King  of  Britain."  What  we  have  said  may  give  an  interest  to  the  works 
of  this  "ingenious  and  accomplished  gentlewoman" — if  perchance  they  pre- 
sent themselves  in  an  old  book-store,  at  a  price  not  exceeding  half  an  eagle  per 
volume.  The  seventh  edition  of  "New  Atalantis"  made  its  appearance  in 
four  twelvemo  volumes,  1741. 

1  Two  volumes  of  plays  by  the  same  author  were  published  by  Mr.  Charles 
Geldon,  1735,  8tli  ed.,  i2mo,  to  which  are  added  a  life  and  memoirs  of  Mrs. 
Behn.* 

The  paraphrase  of  CEnone's  epistle  to  Paris  in  the  English  translation  of 
Ovid's  "  Epistles  "  is  Mrs.  Behn's. 

*  Her  entire  works  have  been  published  in  six  voUimes,  $20  (large  paper,  $32),  8vo. 
London,  1871. 

299 


improprieties  of  "The  Secret  Memoirs,"  by  Mrs. 
Manley,  were  ten  times  more  indulgent  of  virtue 
than  the  iniquities  of  "The  Lucky  Chance,"  "The 
Land  of  Love,"  or  "The  Widow  Ranter."  Ro- 
mances and  novels  flowed  from  her  pen  like  the 
discharge  of  a  sewer.  The  only  palliation  we  have 
to  offer  for  this  talented  woman  is  that  she  wrote 
for  a  livelihood,  and  the  corrupt  tastes  of  her  age 
demanded  a  compliance.  Charles  Gibbon  says: 
"  She  was  a  woman  of  so  celebrated  a  fame  while 
she  lived,  and  so  esteemed,  that  to  give  a  perfect 
draught  of  her  one  must  write  like  her." 

"  Her  plays  and  the  people  in  them  are  as  dull  as  they  are 
dirty." — Athenceum. 

"  Nothing  if  not  nasty." — Saturday  Review. 

Whatever  may  be  said  of  her,  she  was  neverthe- 
less an  adroit  diplomat.  Some  of  her  most  mis- 
chievous results  were  produced,  not  by  direct 
attacks,  but  were  made  to  recoil  like  the  reflex 
effect  of  a  skilful  player  at  billiards  who  first  car- 
oms upon  the  cushion.  She  lived  a  life  which 
demonstrated  the  words  of  Pope  : 

"  That  not  to  be  corrupted  is  the  shame." 

After  her  death  her  writings  were  the  favorite 
readings  in  respectable  English  families.^ 

1  Sir  Walter  Scott  says  that  "Mrs.  Keith,  of  Ravelstone,  his  aunt,  then 
over  eighty  years  of  age,  requested  to  have  sent  to  her  Mrs.  Behn's  novels, 
which  had  given  her  so  much  pleasure  on  hearing  read  sixty  years  pre- 

300 


To  quicken  in  the  inquisitively  prurient  a  han- 
kering for  knowledge,  it  is  only  necessary  to  place 
before  them  the  announcement  of  a  work  contain- 
ing some  interdicted  scandal — and  there  are  too 
many,  alas !  who  revel  in  this  fungoid  literature. 
"The  New  Atalantis"  of  Madame  Manley  scandal- 
ized some  persons  of  rank,  and  for  it  the  author 
was  tried,  found  guilty,  and  imprisoned.  She  was 
also  author  of  a  tragedy  called  "The  Royal  Mis- 
chief," the  best-named  book  that  we  have  ever  seen. 
The  first-named  book  in  this  collection,  "The  New 
Atalantis,"  is  extended  to  three  volumes  by  the  in- 
sertion of  one  hundred  and  eighty  prints,  which, 
for  righteousness'  sake,  had  better  forever  remain 
undescribed.  Here  are  also  profusely  illustrated 
"Marguerite  de  Navarre,"  "Rabelais,"  "  Galan- 
teries  des  Rois  de  France,"  "Secret  Memoirs  of 
Harriott  Pumpkin  "  (Harriet  Mellon),  from  her  in- 
fancy to  her  marriage  with  a  banker.  This  book 
was  suppressed ;   it  would  now  fetch  $50. 

vious  that  she  wished  to  look  at  them  again.  So  I  sent  them,  sealed  up  and 
marked  confidential,  to  my  gay  old  aunt.  The  next  time  I  saw  her  she  gave 
me  back  'Aphra,'  saying:  'Take  back  your  bonny  Mrs.  Behn,  and  if  you 
will  take  my  advice  put  her  in  the  fire.  It  is  an  odd  thing,'  said  she, '  that  I  — 
an  old  woman  over  eighty,  sitting  alone  —  feel  ashamed  to  read  a  book  which 
sixty  years  ago  afforded  me  so  much  pleasure,  and  which  was  thought  proper 
for  the  amusement  of  the  most  creditable  society  in  London! '  "  * 

*  Mrs.  Aphra  Behn  dedicated  her  "  Feign 'd  Courtezans"  to  Mrs.  Ellen  Guin  in  the  follow- 
ing language :  "  Who  can  doubt  the  power  of  that  illustrious  beauty,  the  charms  of  that 
tongue,  and  the  greatness  of  that  minde,  who  has  subdued  the  most  powerfuU  and  glorious 
monarch  of  ^the  world  ;  and  so  well  you  bear  the  honours  you  were  born  for  with  a  greatness 
so  unaffected,  an  affability  so  easie,  an  Humour  soft,  so  far  from  pride  or  vanity,  that  the 
most  envious  and  most  disaffected  could  find  no  cause  or  reason  to  wish  you  less." 

301 


In  searching  through  this  inimitable  library  for 
fresh  conquests,  we  are  met  with  surprises  at  every 
corner.  It  seems  to  be  inexhaustible.  Our  eyes 
are  arrested  by  a  showy  little  volume  in  a  shady 
nook,  the  title  of  which  was  as  familiar  as  house- 
hold words  a  few  years  ago  ;  the  little  book  im- 
mortalized its  author.  I  mean  "  Nothing  to  Wear," 
a  little  poem  supplemented,  as  the  reader  well 
knows,  by  aping  scribblers  with  base  imitations 
entitled  "Nothing  to  Do,"  "Nothing  to  Eat," 
"  Nothing  to  Say,"  and  "  Nobody  to  Blame." 

We  gently  drew  the  dainty  morsel  of  citron 
crushed  levant  from  its  hiding-place,  and  found 
that  the  original  had  been  inlaid  in  Whatman 
paper  to  a  small  quarto  and  the  margins  illustrated 
by  thirty-two  India-ink  and  sepia  sketches  made 
expressly  for  the  work.  We  were  unable  to  ascer- 
tain the  name  of  the  artists.  To  say  that  this  was 
not  a  gem  would  be  an  untruth,  but  it  did  not  com- 
mend itself  to  us  in  its  tout  ensemble,  and  our  criti- 
cism upon  it  would  be  something  as  follows : 
First:  The  physical  quality,  the  paper,  and  the 
typography  of  the  book  do  not  come  up  to  the 
executive  quality  of  the  illustrations.  Secondly: 
The  illustrator,  for  graphic  effect,  has  taken  too 
much  freedom  with  the  text, — that  is,  the  spirit  of 
the  drawings  falls  below  and  degrades  the  high 
moral  status  of  the  poem,  which  is  intensely  ideal, 

302 


while  the  illustrations  represent  the  infelicities  of 
the  ordinary  household.^ 

To  create  a  beautifully  illustrated  book,  harmony 
must  pervade  the  entire  work  ;  an  elegant  piece  of 
printing  and  pure  paper  have  as  much  to  do  in  the 
"get-up"  of  a  fine  book  as  the  illustrations.  Fine 
clothes  do  not  make  a  gentleman,  they  may  cover 
one  ;  the  delicacy  of  fiber  is  organic,  and  lies  at  the 
bottom  of  the  structure. 

And  now,  without  having  exhausted  half  the  cata- 
logue of  Mucorecs,  time  reminds  us  that  we  have 
already  pursued  too  far  this  unprofitable  collec- 
tion ;  and  we  will  dismiss  it  with  the  mention  of  a 
delightfully  illustrated  copy  of  James  Thomson's 
"Seasons,"  which,  although  found  in  bad  company, 
is  itself  untainted.  It  is  the  Roxburgh  edition,  in 
one  volume  extended  to  three,  containing  two  sets 
of  the  prints  of  the  Fonthill  edition,  every  one  of 
which  is  proof  on  India  paper;  also  many  draw- 
ings and  water-colors  by  some  of  the  best  English 
artists,  representing  landscapes  and  sports  of  the 

i  The  illustrations  would  seem  to  supplement  the  epic  somewhat  as  follows : 
the  hero  is  made  a  neophyte  in  the  low-necked  philosophy,  whose  vexations 
do  not  culminate  in  coveted  silks,  satins,  and  brocades,  in  Cluny,  Brussels, 
and  Valenciennes,  but  are  pursued  into  the  more  intimate  personal  life  of  the 
parties,  and  he  discovers  that  the  flaxen  curls  which  had  led  captive  his 
imagination  possessed  a  commercial  value  at  the  hair-dresser's,  that  every- 
thing was  false,  tucked-up  or  pinned  on ;  that  even  the  angelic  form  that  en- 
chanted him  puts  off  its  fair  proportions  at  will  with  its  whalebones,  outriggers, 
and  foreshortenings,  and  the  deluded  man  finds  out  —  too  late,  alas  !  — 

"  That  bustles  are  a  fleeting  show. 

For  man's  delusion  given." 


changing  seasons  of  the  year,  the  descriptions  of 
which  fell  so  gracefully  from  the  pen  of  Thomson  ; 
and  one  masterly  water-color  drawing  of  that  sun- 
rise which  he  describes  so  vividly,  and  which  has 
challenged  the  admiration  of  the  world  as  one  of 
the  finest  specimens  of  word-painting  —  although 
both  Ouinn  and  Savage  positively  affirm  that 
Thomson  never  saw  the  sun  rise  in  his  life. 

The  author  of  "The  Castle  of  Indolence"  paid 
homage  in  that  admirable  poem  to  the  master-pas- 
sion of  his  own  easy  nature.  Thomson  was  exces- 
sively lazy,  and  it  is  recorded  of  him  in  "Percy's 
Anecdotes "  that  he  had  been  seen  standing  at  a 
peach-tree  with  both  his  hands  in  his  pockets,  eat- 
ing the  fruit  from  the  tree  where  it  grew.  We 
never  saw  a  more  chastely  illustrated  book  than 
this  book  of  the  "Seasons." 

There  are  about  two  hundred  volumes  of  illus- 
trated books  in  this  unparalleled  collection,  with 
the  greater  portion  of  which  we  had  never  before 
had  the  honor  of  a  personal  acquaintance.  The 
bindings  are  generally  French.  These  books  sel- 
dom reach  the  salesrooms ;  but  when  they  do, 
they  fetch  greater  prices  than  any  other  books 
known  to  the  trade. 

That  a  man  may  live  in  wedlock  with  his  beauti- 
ful books,  works  of  art,  and  statuary,  and  live  to  love 
and  adore  them,  we  can  perfectly  understand ;  but 

304 


that  a  man  should  cherish  them  —  these  mere  effi- 
gies, models,  transcripts — to  the  exclusion  of  the 
living,  glowing,  breathing  reality  in  flesh  and  blood, 
is,  we  believe,  beyond  the  comprehension  of  every 
well-dispositioned  mortal.  But  our  bachelor  friend 
has  sealed  himself  agfainst  the  tender  amenities  of 
real  life,  has  intrenched  himself  within  the  four 
walls  of  his  literary  fortress,  and,  like  Venus  with 
her  Adonis,  deems  within  this  art-environed 

"  .  .  .  .  park 

No  dog  shall  harm  him,  though  a  thousand  bark." 

From  this  vast  array  of  illustrated  books  we 
hope  not  to  produce  the  conviction  that  it  is  proper, 
or  even  possible,  to  illustrate  all  books  to  advan- 
tage, because  it  would  not  be  true.  There  are 
books  which  resist  every  effort  of  the  illustrator. 
There  are  some  old  books — unique  old  books,  and 
beautiful  because  they  are  old  and  unique — which 
will  admit  of  no  companionship  or  fraternization 
with  methods  of  modern  genius;  no  amount  of  re- 
touching can  give  modern  significance  to  antique 
art.  It  is  like  the  mutilated  statue  of  Memnon 
at  Thebes — beautiful  and  sublime  in  its  mutilation, 
and  which  "gave  forth  melodious  sounds  when  the 
first  rays  of  the  morning  sun  fell  upon  it,  and  at 
evening  gave  a  plaintive  and  melancholy  cry,  but 
became  dumb  on  being  restored  by  modern  art." 

305 


One  of  the  greatest  of  all  popular  errors  relating 
to  the  subject  under  consideration  is  that  lovers 
and  buyers  of  books  —  book-worms,  as  they  are 
called — are,  as  a  class,  unsocial — even  to  a  degree 
uncivil.  Our  intercourse  with  them,  however,  does 
not  go  to  confirm  this  calumny.  We  think  very 
much  of  this  false  sentiment  concerning  bookmen 
has  gained  ascendancy  in  this  country  from  the 
conceits  of  an  extensively  read  book  called  "The 
Book-Hunter,"  by  J.  Hill  Burton.  It  is  a  cynical 
and  mischievous  little  book.^  Its  missiles  of  sar- 
casm are  constantly  discharged  at  men  with  book- 
ish cravings,  and  a  whining  and  complaining  tone 
pervades  the  entire  work.  It  calls  an  illustrator 
the  "  Ishmaelite  of  collectors,  whose  hand  is  against 
every  man,  and  every  man's  hand  is  against  him." 
And,  again,  to  those  who  take  pleasure  in  recon- 

1  A  criticism  on  the  American  edition  of  this  book  in  "  Philobibhon  "  (Vol. 
II.,  page  60)  is  far  from  complimentary  to  Mr.  Richard  Grant  White,  the 
American  editor  and  annotator.  It  charges  him  with  uttering  the  most  de- 
plorable nonsense, —  irrelevant  garrulity, —  with  writing  in  bad  English  and 
worse  orthography.  Of  the  note  on  page  loS  it  says  :  "  It  is  difficult  to  keep 
a  serious  countenance  while  reading  such  arrant  nonsense,  such  empty  af- 
fectation of  superior  classical  culture,  and  such  ludicrous  self-laudation  as  he 
has  managed  to  embody  in  this  note.  It  is  interesting,  however, as  affording 
evidence  of  the  manly  development  of  Mr.  White's  comprehensive  mind  in 
early  youth ;  for  it  will  be  observed  that  he  declares  positively  that  he  has  not 
seen  the  '  Tusculan  Questions'  since  his  'first  college  year.'  The  famous 
scholar  Daniel  Heinsius  maintained  that  '  Grotius  was  a  man  from  the  in- 
stant of  his  birth,  and  never  had  discovered  any  signs  of  childhood. '  Scarcely 
inferior  to  the  young  Grotius  was  the  Freshman  who  could  run  such  a  saga- 
cious parallel  between  the '  Tusculan  Questions  '  and  the  Platonic '  Dialogues,' 
and  we  commend  this  significant  example  of  precocity  to  future  biographers 
of  Enfants  Celebres." 

306 


noitcring  in  unlikely  places  for  books,  it  applies 
the  terms  "  Genghis  Khans,"  "prowlers,"  "myrmi- 
dons," and  many  like  inelegancies.  In  the  chapter 
on  "Pretenders,"  it  introduces  "the  animal,"  "the 
bargain-hunter"  —  characters  so  unreal  as  to  be 
hardly  identified  at  all,  and  in  this  country  entirely 
mythical ;  and  the  extended  note  to  page  94  by 
the  American  editor,  Richard  Grant  White,  is  a 
ridiculously  absurd  thing.  But  we  are  slightly 
digressing.  We  have  never  had  more  courtesy  or 
politeness  extended  to  us  than  while  gathering  ma- 
terial from  bookmen  for  this  essay.  And,  from 
our  experience,  we  believe  that  men  of  literary 
tastes  —  book-lovers  —  have  fewer  foolish  formal- 
ities and  more  amiable  weaknesses  than  any  other 
class  of  the  community.  We  never  knew  a  genuine 
bibliocist  who  was  coarse  and  uncivil ;  and,  from 
necessity,  they  are  scholars.  There  is  a  fragrance 
of  cultivation  about  them  which  the  very  pursuit 
inculcates  ;  and  if  their  comity  is  marked  by  a 
little  eccentricity,  it  is  not  because  of  its  excess 
over  that  of  any  other  class,  but  because  of  its 
rarity,  and  that  it  is  less  frequently  met  with,  •  But 
the  point  aimed  at  here  is  that,  whatever  its 
methods,  the  courtesy  of  the  book-lover  always 
culminates  in  making  you  feel  comfortable  and  at 
ease  in  his  presence,  and  this  is  all  that  politeness 
amounts  to  —  notwithstanding  it  is  the  most  en- 

307 


nobling  of  all  the  fine  arts.  The  social  qualities 
and  politeness  which  we  have  so  emphasized,  and 
have  uniformly  met  with  in  all  our  relations  with 
bookmen,  are  not  stinted,  and  we  wish  here  to 
make  the  fullest  acknowledgment  of  our  profound 
gratitude  for  these  courtesies.^  The  special  oc- 
casion, however,  which  gave  rise  to  the  foregoing 
thoughts  was  our  interview  with  William  T.  Horn, 
Esq.,  at  his  delightful  residence  in  New-York.^ 

Mr.  Horn  was  a  wealthy  man,  a  lawyer  by  pro- 
fession, and  belonged  to  one  of  the  oldest  and  most 
respectable  families  of  New-York.  His  library,  in- 
dependently of  his  privately  illustrated  books,  and 
which  was  a  part  and  parcel  of  himself,  consisted 
of  the  choicest  editions  of  early  English  literature, 
drama,  poetry,  and  fine  arts.  There  are  the  Gro- 
lier,  Florentine,  Renaissance,  Mosaic,'^  and  Anne  of 
Brittany  styles  of  binding  represented  in  his  col- 
lection. A  description  of  his  elegant  and  unique 
privately  illustrated  books  would  be  a  digest  of  the 
choicest  productions  of  the  English  and  American 

1  And  even  at  the  head  and  management  of  our  great  public  libraries,  con- 
cerning which  so  many  complaints  have  been  made,  we  have  never  found  the 
genuine  bibliophile  otherwise  than  genial  and  communicative,  helping  the 
investigator  through  the  labyrinth  of  its  stores.  Such  men  feel  their  strength 
and  the  immense  value  of  the  service ;  and  we  have  been  laid  under  great 
obligations  to  them  in  pointing  to  us  the  right  direction  for  information  which 
we  were  vainly  striving  to  find  in  going  the  other  way. 

2  Mr.  Horn  died  before  the  publication  of  this  volume ;  but  his  library  has 
been  held  intact  by  his  widow. 

3  The  Mosaics  were  invented  by  Padeloup,  but  are  not  noted  for  their 
artistic  effect  as  a  whole.  The  Deromes  brought  this  style  to  greater  perfection. 

308 


presses  —  Pickering,  Chiswick,  Bagster,  Lowndes— 
in  large  paper,  nearly  all  inlaid  to  folio,  and 
illustrated  with  almost  an  infinity  of  Houbrakens, 
Morghens,  Vertues,  Bartolozzis,  Marshalls,  Stranges, 
and  Stothards,  incased  in  garments  of  crushed 
levant,  fashioned  by  those  masters  of  the  binder's 
art,  Bedford,  Hayday,  Cape,  Bernhard,  Matthews, 
Bradstreet,  and  others.  Mr.  Horn  illustrated  seven 
editions  of  the  placid  Izaak  Walton  to  elegant  re- 
pletion. The  large-paper  Boston  edition  of  the 
"Complete  Angler"  has  been  extended  to  four 
volumes  by  the  insertion  of  seven  hundred  prints, 
one  hundred  and  sixty  of  which  are  India  proof 
before  letter,  two  hundred  India  proof  after  letter, 
and  three  hundred  and  forty  others.  These  vol- 
umes are  bound  in  the  best  style  of  Chambolle 
Duru,  ornamented  to  a  Grolier  pattern  outside  and 
a  Louis  XIV.  inside.  They  are  matchless  books  — 
"  Gems,  with  settings  of  brilliants,"  said  an  enthusi- 
ast. And  another  of  the  same  work  —  the  Bagster 
edition  of  1808  —  on  largest  paper,  is  extended  to 
two  volumes,  with  two  hundred  prints,  mostly  India 
proof,  besides  original  drawings.  These  volumes 
are  made  up  from  the  selected  sheets  of  two  copies. 
Also  Pickering's  edition  of  1836,  illustrated  to  five 
volumes,  text  not  inlaid.  This  is  one  of  the  few 
copies  in  which  the  illustrations  in  the  text  are  on 
India  paper.     There  are  seven  hundred  and  fifty 

309 


additional  illustrations,  principally  India  proof  and 
proof  before  letter;  bound  in  green  crushed  levant 
by  Matthews.     And  now  a  large-paper  copy  of  the 
Major  edition  of  1824,  extended  to  two  volumes  by 
inserting  one    hundred    and    ninety-eight    prints; 
bound  by  Chambolle  Duru.     And  another  large- 
paper  Major  of  1844,  two  volumes,  illustrated  by 
one  hundred  and  fifty-four  prints.     Also  a  large- 
paper  copy  of  Dr.   Bethune's   edition,  by  Wiley, 
New- York,  1852,  illustrated;  bound  by  Matthews. 
Here  is  also  Thomas  Westwood's  "Chronicle  of 
the  Compleat  Angler  of  Izaak  Walton  and  Charles 
Cotton,    1864,"  with  one  hundred  and  thirty-four 
prints  added,  and  the  Westwood  Catalogue  bound 
in.     "  Life    of  Isaac    Walton,"  by  Zouch,  quarto, 
seventy-nine  prints  inserted,   all  proof     Walton's 
"  Lives  of  Dr.   John  Donne,   Sir  Henry  Wotton, 
Richard  Hooker,  George  Herbert,  and  Dr.  Robert 
Sanderson,"  extended  to  two  volumes,  with  rubri- 
cated titles.     They  are  charming  —  that  is  all  that 
can  be  said  about  them.      Mr.  Horn  had  twenty- 
four  editions  of  "  Walton's  Angler,"  enshrined  in 
the    noblest  specimens   of    Bauzonnet,   Duru,  and 
Matthews,  which,   instead   of  these   impoverished 
references,  are  worthy  an  entire  winter  course.      It 
is  these  gorgeous  editions  of  the  "  Angler  "  which 
have   thrown   such   a  halo,    as  Wordsworth   says, 
"around  meek  Walton's  heavenly  memory." 

310 


There  are  also  in  this  collection  three  editions  of 
the  English  Petrarch,  "  Sir  Philip  Sidney,  and  His 
limes."  These  works  of  this  great  man,  who  was, 
says  David  Hume,  "the  most  perfect  model  of  a 
gentleman  who  ever  appeared  in  English  history," 
are  extended,  one  to  three,  another  to  three,  and 
the  third  to  two  volumes,  folio.  The  illustrations 
are  mostly  India  proof,  fifty-seven  of  which  are  dif- 
ferent portraits  of  Sir  Philip.  This  is  a  lordly  set 
of  books,  and  is  worthily  supplemented  by  a  folio 
copy,  in  two  volumes,  of  Mrs,  Bray's  "  Stothard,"  a 
beautiful  book,  illustrated  with  the  works  of  Stoth- 
ard in  several  states.  This  book  has  become  a 
great  favorite  with  illustrators,  in  consequence  of 
the  nobility  of  its  characters  and  for  its  literary 
purity.  And  now  we  have  a  Stocdale  edition  of 
"Robinson  Crusoe,"  illustrated  by  Stothard;  next, 
"Fragmenta  Regalia"^  of  Sir  Robert  Naunton,  large 
paper,  only  fifty  copies  printed,  illustrated  with  por- 
traits, all  proof;  and  another  edition  of  the  same 
work,  extended  to  two  volumes,  and  bound  by 
Matthews. 

1 "  Fragmenta  Regalia ;  or,  Observations  on  the  Late  Queen  Elizabeth :  Her 
Times  and  Favorites,"  being  sketches  of  Robert  Dudley,  Thomas  Radcliffe, 
Lord  Burleigh,  Sir  Philip  Sidney,  Lord  W^illoughby,  Francis  Bacon,  Sir 
Nicholas  Bacon,  Sir  Francis  Knowles,  Sir  Walter  Raleigh,  Sir  Henry  Wotton, 
Sir  Francis  Vere,  and  Thomas  Sackville. 

John  Lyly,  a  dramatic  writer,  satirized  the  times  and  literary  men  of  the 
age  of  Elizabeth  in  a  work  called  "  Euphucs  :  The  Anatomy  of  Wit,  1580" — 
which  became  very  popular  with  that  pedantic  generation  for  its  affected  and 
dainty  style,  called  euphuism.  It  is  a  work  deserving  of  notice  for  its  liter- 
ary and  historical  incidents.     I  have  never  heard  of  a  copy  being  illustrated. 


And  now  we  return,  though  not  servilely,  to 
Dibdin's  "Bibliomania."  This  is  an  extraordinary 
book,  being  one  of  an  edition  of  five  copies  only, 
printed  on  drawing-paper  in  folio ;  one  hundred  and 
eighty  illustrations ;  bound  by  Matthews  in  divinity 
blue.  There  is  a  full  set  of  Dibdin's  bibliograph- 
ical works  in  this  collection,  except  "  Introduction 
to  Greek  and  Latin  Classics,"^  bound  by  Bertrand 
of  Paris.  Also  "  Bibliographical  Repertorium," 
two  volumes,  quarto;  Thomas  Hartwell  Home's 
"Introduction  to  the  Study  of  Bibliography,"  ex- 
tended to  three  volumes;  and  "Book  Rarities  of 
Cambridgfe  "  to  four — all  illustrated.  Boaden's 
"Enquiries  into  the  Authenticity  of  the  Shakspeare 
Portraits,"  one  volume  extended  to  two,  seventy- 
five  of  the  rarest  Shakspeare  portraits  inserted. 
This  is  a  glorious  volume  for  the  Shakspearian 
mad,  for  endless,  indeed,  is  the  list  of  portraits  it  is 

1  All  of  Dibdin's  works  are  of  high  price  and  scarce.  It  would  be  quite  a 
feat  at  the  present  day  to  collect  a  full  set  of  the  best  editions  in  a  lifetime 
without  paying  enormous  prices,  so  seldom  are  they  offered  for  sale.  Among 
the  various  sets  of  Dibdin  named  in  this  volume,  we  note  the  absence  of  his 
"  Introduction  to  Greek  and  Latin  Classics,"  from  our  point  of  view  one  of 
his  most  valuable  books.  He  seemed  to  have  no  knowledge  of  the  value  or 
rarity  of  the  books  he  describes,  nor  as  to  the  most  desirable  editions.  Of 
course  all  works  published  by  Aldus  are  of  great  value,  while  those  charming 
little  Elzevirs  published  at  Leyden  and  Amsterdam  have  but  a  nominal 
value.  True,  the  former  are  more  valuable  works,  and  have  a  reputation  from 
their  classical  publisher,  an  advantage  not  possessed  by  the  latter ;  but  the 
time  will  come  wlien  the  reputation  of  the  Elzevirs  will  be  redeemed,  and 
that  vast  amounts  of  money  will  be  gained  on  them.  That  the  margins  be- 
tween the  present  prices  and  what  they  will  fetch  in  the  future  will  be  enor- 
mous we  may  reason  from  past  experience.  They  have  advanced  more  than 
fifty  per  cent,  in  the  last  ten  years. 

312 


capable  of.  Here  is  also  Mrs.  Anne  Jameson's 
"Beauties  of  the  Court  of  Charles  II.,"  in  largest 
paper,  with  three  hundred  and  fifty-four  portraits 
added,  —  fifty-six  different  portraits  of  Charles, — 
bound  by  Chambolle  Duru.  And  now  the  life  of 
the  inevitable  "Nell  Gwynne,"  the  beautiful  and 
wayward  orange-girl  turned  actress,  and  elevated 
to  Countess  of  Greenwich  (had  Charles  lived),  who 
turned  the  heads  of  half  the  nobility  of  England  in 
the  time  of  Charles  II.;  now,  for  once,  in  honest 
company,  sandwiched  between  "Erasmus"  and  a 
unique  copy  of  "  Cardinal  Wolsey."  This  book  was 
originally  a  small  duodecimo,  by  Peter  Cunning- 
ham, who  was  also  author  of  the  "Life  of  Inigo 
Jones"  and  an  edition  of  "Oliver  Goldsmith's 
Works."  It  is  now  extended  to  two  large  folios  by 
the  addition  of  two  hundred  and  eighty  prints,  many 
proof  before  and  after  letter;  also  mezzotints  of 
contemporaneous  issues.  Such  is  the  value  of  any 
memento  of  this  wonderful  woman  that  a  letter  of 
hers  (indited  by  her — Nelly  could  with  difficulty 
make  her  initials,  "  E.  G.")  to  Lawrence  Hyde,  son 
of  Lord  Chancellor  Clarendon,  sold  for  $145  in 
in  1874,  at  the  Tite  sale,  London.^ 

There  is  one  other  work  in  Mr.  Horn's  library 

lAciirious  strife  existsamong  illustrators  of  "Nell  Gwynne"'  to  obtain  views 
of  the  various  houses  in  which  she  is  said  to  1  ave  lived.  I  find  from  all 
sources  that  she  must  have  resided  at  Chelsea,  Bagnagge  Wells,  Highgate, 
Walworth,  Filbats,  near  Windsor;  Drury  Lane,  Lincoln's  Inn  Fields,  Pall 
Mall,  Buford  House,  and  others. 


which  ought  to  have  a  prominent  place.  It  is 
Murphy's  "  Life  and  Genius  of  Henry  Fielding," 
and  is  ilkistrated  in  the  highest  style  of  the  illus- 
trators' art.  We  have  a  great  admiration  for 
Fielding.  There  is  a  charm  about  his  works,  the 
very  faults  of  which  are  fascinating  and  enduring — 
abundat  dulcibus  vitiis.  "What  a  master  of  com- 
position," says  Coleridge,  "Fielding  was  !  Upon  my 
word,  I  think  'QEdipus,'  'Tyrannus  the  Alchemist,' 
and  'Tom  Jones'  the  three  most  perfect  plots  ever 
planned;  and  how  charming,  how  wholesome  Field- 
ing always  is !  To  take  him  up  after  Richardson 
is  like  emerging  from  a  heated  room  into  an  open 
lawn  on  a  breezy  day  in  May." 

There  are  many  other  illustrated  works  in  this' 
superb  collection,  from  which  I  select,  as  memory 
serves  me,  "Lives"  of  Holbein,  Rembrandt,  and 
Van  Dyck,  all  profusely  illustrated;  also,  "Bards 
and  Reviewers,"  three  volumes;  "History  of  the 
Revolution  of  1688,"  by  Sir  James  Mackintosh; 
Osborne,  Welden,  and  Peyton's  "  Secret  Court  of 
James  I.,"  in  two  volumes ;  Charles  J.  Fox's  "  Court 
of  James  II.,"  on  drawing-paper;  "Life  of  Sir 
Thomas  More,"  with  seventy  portraits  of  More; 
"Rejected  Addresses,"  R.  Smith;  John  Boydell's 
"Milton,"  with  eighty  portraits  of  Milton.  Wil- 
liam Haslewood,  the  celebrated  antiquary  forty 
years  ago.  with  all  the  print-emporiums  of  Europe 

314 


to  draw  from,  succeeded  in  getting  together  only 
thirty  portraits  of  Milton.  "  Anecdotes  of  Sam 
Johnson" — "the  Jupiter,"  says  Prout,  "of  English 
literature,  with  one  satellite";  "Lives"  of  Gower 
and  Chaucer,  Harvey,  Scott,  Walpole,  Pope, 
Rogers,  and  Dryden — "the  Iscariot  of  English 
poetry  and  politics,"  who,  having  flattered  in  turn 
with  sickening  adulations  Cromwell,  Charles  II., 
James  II.,  and  William,  died  of  a  broken  heart, 
deserted  by  all  parties.  All  the  above,  and  many 
others,  extended  to  folio,  adorn  Mr.  Horn's  library. 
The  grand  object  of  the  illustrator  of  this  collection 
was  to  form  a  perfectly  consecutive  "  Illustrated 
History  of  English  Literature,"  and  it  is  to  the 
fidelity  with  which  he  carried  out  this  object  that 
the  attractiveness,  utility,  and  great  worth  of  the 
collection  are  due.  All  praise  to  a  hobby  which 
champions  grace  and  beauty  ! 

Edmund  Clarence  Stedman  of  New-York,  poet, 
and  author  of  many  prose  works,  disclaims  the 
title  of  either  collector  or  illustrator  of  books,  or 
"any  worth  mentioning.  As  you  know,"  says  he, 
"  I  am  slowly  illustrating  and  extending  my  '  Poets 
of  America'  and  'Victorian  Poets,'  but  they  are  yet 
far  from  complete."  Mr.  Stedman's  inlaying  is 
being   done  by  Lawrence. 

There  are  no  two  books  in  the  English  language 
which  take  more  kindly  to  illustrations  of  the  class 

315 


that  give  joy  to  the  heart  of  the  collector  than  these 
two  books  of  Mr.  Stedman,  and  a  lifetime  may  be 
devoted  to  them.  That  they  have  been  fully  appre- 
ciated by  the  collector  and  illustrator  is  abundantly 
attested  in  our  pages  by  the  great  number  which 
have  been  and  are  being  illustrated.  Mr.  Stedman 
will  probably  extend  his  "  Poets  of  America,"  by 
the  insertion  of  portraits  and  autograph  letters 
and  manuscript,  to  six  volumes.  The  "Victorian 
Poets,"  with  the  same  class  of  illustration,  will 
be  extended  to  two.  He  already  has  a  great 
amount  of  material,  consisting  of  original  manu- 
script and  letters  of  Poe,  Bryant,  Longfellow, 
and  other  American  poets,  and  hundreds  of  their 
portraits. 

Hon.  Charles  H.  Bell,  of  Exeter,  N.  H.,  has 
become  enamored  of  this  delightful  pastime  ;  he 
has  illustrated  a  copy  of  Lorenzo  Sabine's  "Ad- 
dress on  General  James  Wolfe."  We  do  not  know 
the  number  of  the  portraits,  but  they  alternate  with 
every  leaf  of  the  text.  He  has  also  illustrated  Jared 
Sparks's  "  Life  of  Washington,"  which  is  in  the 
same  very  sensible  style,  a  leaf  and  a  print  alter- 
nating; nearly  all  the  portraits  have  autograph 
signatures  inlaid  beneath  them.  Mr.  Bell  is  also 
illustrating  "John  Wheelwright,"  one  of  the  pub- 
lications of  the  Prince  Society.  It  will  be  illus- 
trated with  Indian  deeds  of  1638-9  subscribed  by 

316 


the  chiefs  with  their  totems,  autographs  of  John 
Winthrop,  Sir  Henry  Vane  and  Cotton  Mather, 
and  others.     This  work  is  unfinished. 

Mr.  Bell  has  privately  illustrated  a  copy  of 
Jeremy  Belknap's  "  History  of  New  Hampshire." 
It  is  illustrated  with  portraits  of  nearly  every  per- 
son mentioned  in  its  history  up  to  1831.  His 
method  has  been  to  insert  an  autograph  under  each 
portrait,  thus  advantageously  disposing  of  a  great 
many  cut  autographs.  There  are  about  three  hun- 
dred and  forty  autographs  in  the  book  ;  the  inlay- 
ing was  done  by  Toedteberg,  and  the  binding  by 
Hathaway  of  Boston,  in  dark-green  crushed  levant. 
It  consists  of  two  stout  volumes.^ 

Mr.  W.  M.  T.  Round  has  an  aspiration  to  occupy 
a  place  in  the  ranks  of  book-illustrators,  and  he  has 
made  some  noble  advances  in  that  direction ;  he  is 
in  fact  no  longer  an  amateur,  having  illustrated 
"  The  English  Country  Squire,"  Rosa  Gebhaus's 
translation  of  Baron  von  Holsendorf 's  work.  This 
work  details  life  at  Hardwick  Court,  Gloucester, 
England,  and  has  been  extended,  by  inserting  por- 
traits, views,  and  autograph  letters,  to  an  extensive 
and  valuable  work. 

1  Mr.  Bell  has  a  general  collection  of  the  autographs  of  most  of  the  officers 
and  patriots  of  the  Revolution  as  well  as  of  foreign  officers,  which  includes 
twenty-two  of  the  Signers  of  the  Declaration,  thirteen  autograph  letters 
signed;  of  the  Signers  of  the  Constitution  he  has  twenty-nine  autograph  let- 
ters signed.  His  collection  of  autographs  embraces  nearly  all  of  the  American 
Revolutionary  generals,  and  many  of  the  British  and  French. 


Silvio  Pellico,  author  of  "  Le  mie  Prigioni "  (My 
Prisons),  and  also  author  of  "  Francesca  da  Rimini," 
a  tragedy,  was  the  friend  of  Lord  Byron,  Ma- 
dame de  Stael,  and  Lord  Brougham.  In  1820  he 
was  arrested  as  a  member  of  a  secret  society,  and 
in  1822  condemned  to  imprisonment  for  fifteen 
y^diYs  cai^cere  dtiro.  In  1830  he  was  released  and 
wrote  a  narrative  of  his  prison  experiences,  "My 
Prisons";  it  was  translated  into  most  of  the  lan- 
guages of  Europe.  Mr.  Round  has  illustrated -this 
work  with  many  portraits,  views,  and  autographs. 
The  novelty  of  the  subject  and  its  treatment  of 
prison  matters  render  this  a  worthy  book.  Also 
the  "Letters  of  Henry  Morley  "  and  the  'Letters 
of  William  M.  Thackeray"  have  been  liberally  il- 
lustrated. Also  Joaquin  Miller's  "Songs  of  the 
Sunland,"  with  many  portraits,  letters  of  Miller, 
etc.  The  book  is  dedicated  to  "The  Rosetti,"  and 
he  has  bound  in  their  letters  acknowledging  the 
dedication,  with  portraits. 

Samuel  Richardson's  "  English  Literature  "  has 
been  extended  to  many  volumes  by  the  insertion 
of  about  eight  hundred  illustrations.  Wines'  "State 
of  the  Prisons."  This  book  is  yet  unfinished  ;  it 
will  be  extended  to  ten  volumes  by  the  insertion 
of  over  fifteen  hundred  illustrations.  We  expect 
much  of  this  work,  in  consequence  of  the  newness 
of  the  subject  and  Mr.  Round's  familiarity  with  it. 

318 


"Memoirs  of  Madame  Countess  de  Remusat"  has 
been  extended  to  three  volumes  by  the  insertion  of 
one  hundred  and  fifty  portraits.  As  a  nucleus  for 
illustrating,  Mr.  Round  has  a  collection  of  prints 
reaching  to  probably  eight  or  ten  thousand,  and 
he  has  ten  or  twelve  works  now  in  process  of  illus- 
trating, including  one  on  Bonaparte. 

Mr.  Round  being  from  home  on  official  business, 
we  were  unable  to  make  as  full  a  report  of  his 
books  as  we  desired.  We  suspect  he  has  many 
very  valuable  books  on  the  subject  of  prisons. 

In  the  last  chapter  we  referred  to  busy  lives  and 
the  amount  of  labor  man  is  capable  of  performing 
providing  the  mental  and  physical  rhythm  were 
kept  up.  There  are  men  whose  business  and  pro- 
fessions seem  to  have  absorbed  their  entire  being, 
and  the  amount  of  accomplished  work  which  they 
are  prepared  to  leave  behind  them  is  enormous. 
But  how  astonished  are  we,  on  gaining  access  to 
their  inner  or  personal  life,  to  find  the  result  more 
than  duplicated  in  a  labor  of  which  the  outside  world 
knew  little  or  absolutely  nothing.  Hon.  James  T. 
Mitchell,  Justice  of  the  Supreme  Court  of  Pennsyl- 
vania, belongs  to  this  class.  While  his  profes- 
sional and  public  life  has  been  a  busy  one,  he  has 
in  the  mean  time  found  leisure  to  collect  and  illus- 
trate many  admirable  biographical  and  historical 
works,  mostly  local.     Judge  Mitchell's  collection  is 

319 


not  noted  for  its  numbers,  but  for  covering  a  new- 
field.  Not  a  book  mentioned  in  his  list  is  to  be 
found  in  any  other  collection  named  in  this  volume. 
Each  book  is  as  fully  and  completely  illustrated  as 
accessible  materials  would  permit.  He  has  illus- 
trated Sir  Jonah  Harrington — being  "Personal 
Sketches  of  My  Own  Time"  —  the  edition  of 
1830-2,  in  three  volumes  extended  to  six,  with  ex- 
tra title-pages  and  index,  five  hundred  and  three 
portraits,  and  two  hundred  and  ten  views.  It  is  a 
most  interesting  and  humorous  book.  "  Lives  of 
the  Chief  Justices  of  the  U.  S.,"  by  Henry  Flan- 
ders, two  volumes  enlarged  to  four,  illustrated  with 
six  autograph  letters,  four  hundred  and  eighty-six 
portraits,  and  one  hundred  and  sixty-two  views. 

"The  Leaders  of  the  Old  Bar  of  Philadelphia," 
by  Horace  Binney,  one  of  the  ten  large-paper 
copies  with  rubricated  titles,  head  and  tail  pieces  ; 
it  is  illustrated  by  four  autographs  and  ninety-four 
portraits,  thirty-two  of  w^hich  are  from  private 
plates,  and  two  pen-drawings,  with  special  index ; 
bound  in  full  levant  by  Pawson  and  Nicholson.  The 
foregoing  is  a  delightful  series  of  sketches  by  the 
most  eminent  of  all  the  Philadelphia  lawyers ;  it 
contains  every  portrait  known  to  be  in  existence  ap- 
propriate to  the  book ;  many  of  the  private  prints 
were  done  for  the  Portrait  Club  by  the  families  of 
the  subjects. 

320 


The  following  eulogiums  constitute  a  dignified 
and  valuable  historical  series.  "William  Tilgh- 
man,  Chief  Justice  of  Pennsylvania,"  containing  a 
eulogium  by  Horace  Binney,  1827;  also  eulo- 
gium  by  Peter  S.  Duponceau,  1827.  "Eulogium 
on  Dr.  Caspar  Wistar,"  by  William  Tilghman 
(18 1 8),  and  an  Address  before  the  Agricultural  So- 
ciety by  Wm.  Tilghman  (1820),  with  special  title- 
page,  one  hundred  and  five  inserted  portraits,  of 
which  twenty-six  are  from  private  plates.  An  "Es- 
say on  the  Life,  Character,  and  Writings  of  John 
Bannister  Gibson,  Chief  Justice  of  Pennsylvania," 
by  Wm.  A.  Porter,  illustrated  by  eighty-three  por- 
traits and  views.  All  the  above  were  inlaid  by 
Trent  and  bound  by  Pawson  and  Nicholson. 

"The  Memoir  and  Historical  Orations  of  Henry 
Armitt  Brown,"  by  Prof  J.  M.  Hoppin,  was  ori- 
ginally in  one  volume,  and  here  is  extended  to 
four  by  the  insertion  of  three  hundred  and  eighty- 
two  portraits,  sixty-four  of  which  are  from  private 
plates,  and  four  India-ink  drawings  and  ninety-six 
views,  nine  of  which  are  water-color,  made  specially 
for  the  book. 

"The  Republican  Court,"  by  R.  W.  Griswold, 
extended  to  three  volumes  with  four  hundred  and 
eighty-five  portraits,  of  which  forty-six  are  private 
prints,  and  seventy-one  views;  also  "Lives  of  Emi- 
nent  Philadelphians,"   by    Henry    Simpson,    large 

321 


paper,  extended  to  three  volumes  by  one  hundred 
and  sixty-one  autographs  and  more  than  twelve 
hundred  portraits,  of  which  one  hundred  and  twenty- 
eight  are  from  private  plates.  They  are  both  impos- 
ing works. 

"My  Reminiscences,"  by  Lord  Ronald  Gower, 

two  volumes,  octavo,  has  been  extended  to  four,  small 

folio,  by  adding  four  hundred  and  fifty-six  portraits 

and  three  hundred  and  sixty- six  views.     The  work 

was   inlaid  by  Trent  and   bound  by  Pavvson  and 

Nicholson.     Also  "  One  Hundred  Days  in  Europe," 

by  O.  W.  Holmes,  extended  to  two  volumes,  octavo, 

by  two  hundred  and  eighty-one  portraits  and  one 

hundred  and  two  views ;   "  Eulogium  on  the  Life 

and  Character  of  John  Marshall,"  by  Horace  Bin- 

ney,   1835;   "Eulogium  on  the  Life  and  Services 

of  John   Sergeant,"  by  Wm.   M.   Meredith,    1853; 

"  Eulogium  on  the  Life  and  Character  of  Horace 

Binney,  by  Hon.  William  Strong,  1876;  "Eulogium 

upon  Hon.  Geo.  M.  Dallas,"  by  Charles  J.  Biddle, 

1865  ;    "  Address  on  the  Life  and  Character  of  Col. 

Charles  J.  Biddle,"  by  Hon.  John  Cadwalader ;   "  A 

History  of  the  District  Court  of  Philadelphia,  with 

Notices  of  the  Judges,"  by  James  T.  Mitchell,  1875. 

The  above  series  are  of  great  local  interest,  and 

are  illustrated  in  each  case  with  autographs  of  the 

.subjects  of  the  eulogiums,  and  with  all  the  portraits 

that  they  will  bear  without  forcing. 

322 


Professor  Andrew  D.  White  of  Cornell  Uni- 
versity, Ithaca,  N.  Y.,  has  reveled,  but  cautiously, 
in  the  purlieus  of  this  enchanted  realm.  He  is  the 
owner  of  a  copy  of  Macaulay's  "  Essays,"  English 
edition,  in  three  volumes,  extended  to  eight  by  the 
insertion  of  portraits,  engravings  from  historical 
pictures,  views  of  historical  scenes,  etc.,  etc.,  the 
matter  referred  to  being  in  each  case  rubricated  in 
the  text.  Also  the  English  edition  of  Rt.  Hon. 
John  Wilson  Croker's  "  Boswell's  Johnson,"  one 
volume,  large  octavo,  extended  to  three  volumes  by 
the  insertion  of  many  prints,  consisting  of  portraits 
and  views  ;  bound  in  blue  morocco.  Also  Aiken's 
"Queen  Elizabeth,"  extended  from  three  octavo 
volumes  to  eight  by  the  insertion  of  many  hundreds 
of  prints,  consisting  of  portraits,  engravings  of  build- 
ings and  places,  etc. ;  full-bound  in  calf;  binder  and 
inlayer  of  these  volumes  unknown.  The  literary 
and  classical  wealth  of  Prof  White's  library  does 
not  come  within  the  province  of  this  monograph. 

The  transition  from  one  collection  of  privately 
illustrated  books  to  another,  on  paper,  is  quite  a 
simple  achievement,  but  to  garner  the  materials 
from  their  widely  separated  depositories  into  one 
homogeneous  whole  is  a  labor  in  the  awkward 
vicissitudes  of  which  we  cannot  permit  the  reader 
to  share ;  this  promises  to  be  our  allotment  of  the 
spoils. 

323 


Our  next,  Mr.  O.  S.  A.  Sprague,  of  Chicago, 
although  not  badly  smitten,  has  in  his  library  an 
infusion  of  privately  illustrated  books,  enough  to 
identify  or  diagnose  his  case.  Three  volumes  of 
Thomas  F.  Dibdin's  "  Bibliomania,  or  Book-mad- 
ness," illustrated  by  three  hundred  and  thirty-eight 
illustrations.  Also  two  volumes,  "Reminiscences  of 
a  Literary  Life,"  Dibdin,  containing  one  hundred 
and  forty-eight  illustrations;  bound  by  P.  Ringer 
&  Co.,  Chicago.  Three  volumes,  "Bibliographical, 
Antiquarian,  and  Picturesque  Tour  in  England  and 
Scotland,"  two  hundred  and  thirteen  illustrations, 
bound  by  Matthews.  Three  volumes,  "Bibliograph- 
ical, Antiquarian,  and  Picturesque  Tour:  France  and 
Germany,"  containing  one  hundred  and  ninety-one 
illustrations.  Three  volumes,  same  author,  "Bib- 
liographical Decameron,"  illustrated  by  seventy- 
eight  illustrations.  Also  "Imitation  of  Jesus  Christ," 
by  Thomas  a  Kempis  (also  ascribed  to  John  Gerson, 
Chancellor  of  the  University  of  Paris,  142 1),  illus- 
trated by  the  insertion  of  fifty  illustrations. 

Mr.  Elisha  Turner,  of  New  London,  Conn.,  has  il- 
lustrated Cunningham's  edition  of  Johnson's  "Lives 
of  the  Poets,"  in  three  volumes,  by  the  insertion 
of  one  hundred  and  thirty-six  portraits,  many 
proofs  on  India  paper,  some  very  rare  ;  bound  by 
Matthews  in  half  red  levant.  Boswell's  "  Life  of 
Samuel  Johnson,"  Napier  edition,  five  volumes  ex- 

324 


tended  to  seven  by  the  addition  of  two  hundred  and 
eighty-six  portraits,  views,  and  letters,  many  proofs 
on  India  paper;  bound  by  Stikeman.  "Abbotsford 
and  Newstead  Abbey,"  forty  portraits  and  views  ad- 
ded, two  volumes;  bound  by  Stikeman.  "TheAlham- 
bra"  has  been  extended  to  two  volumes,  forty-six 
portraits  and  views  added;  also  "Spanish  Papers," 
to  two  volumes,  sixty-five  portraits  and  views  in- 
serted; "Tales  of  aTraveller,"  two  volumes,  eighteen 
prints;  "Lifeof  Oliver  Goldsmith";  "Astoria,"  three 
volumes;  "Wolfert's  ♦Roost,"  "Salmagundi,"  Ir- 
ving's  "Lifeof  Washington,"  "Lyrics  of  the  Heart." 
All  of  the  above-named  works  have  been  illustrated 
to  completeness,  and  neatly  bound  in  crushed  levant 
by  Stikeman,  Macdonald,  and  others. 

Among  the  great  libraries  of  this  country  in 
rarities,  old  books,  fine  bindings,  and  in  privately 
illustrated  volumes,  notably  stands  that  of  Mrs. 
Norton  Q.  Pope,  of  Brooklyn.  No  efforts  have 
been  made  by  Mr.  and  Mrs.  Pope  to  build  up  a 
large  library,  but  to  create  one  nulli  secundus. 
Hence  the  missals,  first  editions,  illuminated  copies, 
old  books  on  vellum,  unique  folios  of  Shakspeare, 
of  Caxton,  and  inciinabiila.  Here  is  also  a  valu- 
able collection  of  "Americana";  also  some  superb 
specimens  of  bindings :  there  are  examples  of  the 
Grolier,  Roger  Payne,  Padeloup,  Trautz-Bauzon- 
net,  David,  Lortic,  etc. 

325 


Among  their  most  noted  privately  illustrated 
books  is  the  "  Poetical  and  Prose  Works  of  Robert 
Burns."  It  is  questionable  if  another  copy  of 
Burns  equal  to  this  exists.  It  is  the  Edinburgh 
edition  of  1877-8,  large  paper,  only  twenty-five 
printed,  with  India-proof  impressions  of  the  plates; 
six  volumes,  imperial  octavo,  extended  to  thirteen 
volumes  ("  Life"  one  volume,  "  Prose"  six  volumes, 
"Poetry"  six  volumes)  by  the  insertion  of  illus- 
trations, original  manuscripts,  autograph  letters, 
water-color  drawings,  facsimiles,  beautiful  head  and 
tail  pieces,  specially  printed  title-pages,  etc.  The 
whole  bound  by  Bradstreet  in  crushed  crimson 
levant  morocco,  tooled  inside  borders  (with  a  lock 
of  Miss  D.  D.  Davis's  hair  inserted  in  the  inside 
of  the  front  cover  of  the  "  Life"). 

Of  the  many  precious  relics  preserved  in  these 
volumes  are  fourteen  proof-portraits  of  Burns; 
manuscript  poem  by  R.  Burns,  with  autograph ; 
autograph  letter  signed,  dated  April  3,  1785  ;  auto- 
graph letter  signed  with  initials,  addressed  to  W. 
Keddell,  M.  D. ;  original  manuscript  of  "Bonny 
Dundee";  original  manuscript  of  "The  Five  Car- 
lins  " ;  twenty-three  stanzas  with  autograph  presen- 
tation to  David  Blair ;  autograph  letter,  signed  R. 
Burns,  to  Mr.  McMurdo,  August  2,  1790;  original 
manuscript,  "Elegy  on  the  Death  of  Capt.  Matthew 
Henderson,"  with   autograph  presentation,    1793; 

326 


original  manuscript,  seven  verses,  on  the  "Galloway 
Election  "  ;  original  manuscript, 

"  It  was  a'  for  our  rightfu'  King,  etc.," 

five  verses;  original  manuscript  of  a  song  sent  to 
Mr.  Robert  Cleghorn,  December  12,  1792.  There 
are,  besides  the  above,  several  autograph  letters  of 
Burns's  son  Robert;  the  famous  Dr.  James  Currie 
correspondence ;  two  autograph  letters  of  Sir  Walter 
Scott,  signed;  one  autograph  letter  signed  J.  G. 
Lockhart;  a  series  of  water-color  drawings;  and 
many  autograph  letters  of  great  rarity,  but  too 
numerous  to  describe  here  in  detail. 

Robert  Burns  needs  no  eulogium  from  us,  but 
we  cannot  forbear  a  few  beautiful  words  of  Allan 
Cunningham,  who  says  of  Burns:  "He  owes  no- 
thing to  the  poets  or  poetry  of  other  lands ;  he  is  the 
offspring  of  the  soil ;  he  is  as  natural  to  Scotland 
as  the  heath  is  to  her  hills ;  his  variety  is  equal  to 
his  originality ;  his  humor,  his  gaiety,  his  tender- 
ness, his  pathos,  come  all  in  a  breath  ;  they  come 
freely,  for  they  come  of  their  own  accord;  the  con- 
trast is  never  offensive ;  the  comic  slides  easily 
into  the  serious,  the  serious  into  the  tender,  and  the 
tender  into  the  pathetic. 

"  In  Scotia's  choir 
Of  minstrels  great  and  small. 
He  sprang  from  his  spontaneous  fire, 
The  Phoenix  of  them  all." 

327 


Mrs.  Pope's  collection  also  contains  an  illustrated 
"Life  of  Mrs.  Sarah  Siddons,"  by  Campbell,  two 
volumes,  1834;  bound  in  orange  morocco,  with 
tooling,  silk  linings,  etc.,  by  Riviere.  It  is  illus- 
trated by  one  hundred  and  thirty  choice  portraits 
in  character,  also  many  views.  There  are  two  fine 
drawings  of  Mrs.  Siddons  in  character  by  Thomas 
Stothard  (originals  of  the  engravings),  also  auto- 
graph letters  of  J.  P.  Kemble,  Geo.  Stephen  Kem- 
ble,  Fanny  Kemble,  Charles  Kemble,  W.  Southerby, 
and  others. 

Another  work  commanding  our  admiration  is 
Miguel  Cervantes's  "The  History  of  the  Ingenious 
Gentleman  Don  Quixote  de  la  Mancha,"  translated 
by  P.  A.  Motteux.  This  is  one  of  fifty  copies  in 
four  imperial  octavo  volumes,  Edinburgh,  1879, 
1884,  extended  to  eight  volumes  by  the  insertion 
of  many  illustrations.  There  are  sixteen  original 
drawings  by  Thomas  Stothard,  also  series  of  illus- 
trations by  Stothard,  Smirke,  Sisco,  Deveria,  West- 
all,  Corbould,  Coypel,  and  others,  nearly  all  of 
which  are  proofs.     This  work  is  absolutely  unique. 

And  now  comes  "  Robert  W.  Elliston's  Me- 
moirs," by  G.  Raymond,  two  volumes,  1844,  1845, 
both  series  with  portraits  and  illustrations  by 
Cruikshank  and  "Phiz."  It  contains  one  hundred 
and  thirty-six  additional  portraits,  autograph  let- 
ters, scarce  playbills,  admission  tickets,  etc.    Among 

328 


the  autograph  letters  are  four  from  G.  Raymond 
concerning  the  work,  one  from  Madame  Vestris  to 
ElHston,  eleven  from  H.  Jameson,  three  to  R.  F. 
Jameson  from  Elliston  respecting  stage  properties, 
a  very  interesting  letter  from  Mrs.  Mary  Robin- 
son, and  others  from  T.  Evans,  Laura  Simcox,  Miss 
Chester,  W.  Davis,  Mrs.  Billington,  Francis  Jame- 
son, Jack  Hughes,  Mrs.  De  Camp,  and  about 
twenty  others.  Among  the  portraits  are  many 
proofs  of  Elliston,  Madame  Vestris,  Grimaldi,  Mrs. 
Dickens,  Mrs.  Robinson,  Mrs.  Yates,  Romeo 
Coates,  Mrs.  Abbington,  Peg  Woffington,  Ann 
Cately,  Mrs.  Oldfield,  and  many  others.  Tickets 
of  admission  with  signatures  of  Madame  Vestris, 
Braham  Dowton,  Mrs.  Pope,  Farley,  and  Dibdin. 
The  playbills  consist  of  an  interesting  variety.  This 
princely  work  is  bound  by  Tout.  The  old  St. 
George's  Circus,  which  had  a  bad  reputation,  was 
destroyed  by  fire  in  1805,  ^^id  was  rebuilt  and 
opened  in  1806  by  Mr.  Elliston  as  the  Surrey 
Theatre. 

"  And  burnt  the  Royal  Circus  in  a  hurry  — 
'T  was  called  a  Circus  then,  but  now  the  '  Surrey.'" 

Rejected  Address. 

"  I  found  the  crown  hanging  on  a  bush,"  said  an 
English  usurper;  "I  picked  the  Surrey  from  the 
gutter,"  said  the  equally  regal  Elliston. 

329 


Now  follows  a  set  of  the  "Works  of  Thomas 
Frognall  Dibdin,"  in  thirty-six  volumes.  "Typo- 
graphical Antiquities,"  in  six  volumes,  folio  (Farn- 
ham  catalogue),  bound  in  half  vellum,  London, 
1 8 10-19 — a  unique  set.  We  have  arranged  them 
arbitrarily  as  follows:  The  first  volume  of  "Typo- 
graphical Antiquities"  consists  of  24  pages  only; 
these  were  printed  on  vellum,  and  were  all  that 
were  printed  in  this  style.  The  publication  of 
this  only  copy  on  parchment  was  discontinued  on 
reaching  the  24th  page,  as  appears  by  two  letters 
from  Dibdin  to  William  Savage,  the  printer,  both 
of  which  letters  accompany  this  volume ;  the  lat- 
ter and  more  pertinent  here  is  as  follows:  "  I  give 
up  the  vellum  copy,  not  from  any  supposition  of 
your  want  of  skill  to  execute  it,  but  from  various 
causes  which  I  will  state  hereafter.  We  shall  now 
go  on  smoothly."  So  the  vellum  copy,  of  which 
there  was  to  be  an  only  one,  was  discontinued  at 
page  24,  and  this  unique  fragment  is  in  Mr.  Pope's 
library,  and  constitutes  Volume  I.  of  the  "Typo- 
graphical" series  uniformly  bound.  Volume  II. 
consists  of  a  collection  of  wood-engravings  gotten 
together  by  Dibdin  and  Savage,  carefully  selected, 
being  both  plain  and  colored,  and  from  the  best  mas- 
ters. They  represent  Albert  Durer,  Hans  Burgk- 
mair,  Lucas  Cranach,  Hans  Schaeflein,  Henry 
Voghter,  James  Kobel,  and  others,  a  large  portion 

330 


of  which  are  proofs,  many  on  India  paper.  At  the 
end  of  this  volume  are  some  pages  of  Ames's  pref- 
ace, and  an  account  of  the  "  Life  of  William  Cax- 
ton"  on  India  paper.  This  volume,  with  the  one 
last  described  and  the  four  volumes  on  "Typo- 
graphical Antiquities,"  on  vellum  paper,  uncut, 
sixty-six  only  printed,  constitutes  the  six  unique 
folio  volumes  of  the  "Antiquities,"  uniformly  bound 
in  half  vellum.  They  contain  many  very  fine  and 
rare  mezzotint  portraits,  and  other  illustrations. 
This  set  stands  alone,  the  envy  and  despair  of  all 
Dibdin  collectors.  "The  Bibliographical  Works" 
of  Dibdin  consist  of  twenty-four  volumes,  uniform 
in  size,  large  paper,  bound  in  sage  morocco  by 
Lewis,  Hayday,  and  Matthews.  Many  proof-prints 
are  scattered  through  these  volumes,  some  very 
rare,  also  many  autograph  letters.  These  are  fol- 
lowed by  six  other  volumes  of  Dibdin's  "Works," 
all  uniform  in  size.  There  are  comparatively  but 
few  illustrations  in  these  volumes,  but  as  to  the  set 
as  a  whole,  in  rarity  it  has  no  compeer  in  this 
country. 

It  may  be  remarked  generally  that  Mr.  and  Mrs. 
Pope  have  not  sought  to  excel  by  eccentric  pro- 
fuseness  of  ornamentation  in  any  of  their  books,  but 
have  pursued  a  course  between  extremes  through- 
out the  work  performed  by  them  individually.  The 
Dibdin  was  purchased  at  the  Farnham  sale. 

331 


The  faithful  old  "Walton  and  Cotton's  Angler" 
is  again  presented  for  our  review.  This  is  the  edi- 
tion of  1838,  extended  to  four  volumes,  quarto,  and 
illustrated  with  over  twelve  hundred  prints  ;  eleven 
water-color  drawings  by  J,  Linnell,  Sr. ;  twenty- 
five  water-color  drawings  by  G.  Shepherd  ;  seven- 
teen by  P.  Audinet;  fourteen  by  Alexander;  nine 
pencil-drawings  by  Howett ;  with  about  twenty 
others.  There  are  also  many  water-color  head 
and  tail  vignettes  by  H.  T.  Humphrey. 

The  "  Works  and  Life  of  William  Shakspeare," 
edited  by  Howard  Staunton,  with  illustrations  by 
Sir  John  Gilbert  (London,  1881),  extended  to  forty 
volumes,  also  adorns  this  collection.  It  contains 
nine  hundred  and  thirty-four  engravings,  one  hun- 
dred and  thirty  of  which  are  proof,  seventy-three 
water-colors,  and  twenty-six  mezzotints.  This  is  a 
set  of  books  deserving  of  a  more  extended  review. 
Also  a  "  Brief  Memoir  of  Sir  Walter  Raleigh,"  by 
Samuel  G.  Drake,  printed  for  private  distribution. 
There  are  forty-nine  portraits  of  Raleigh,  mostly 
proofs,  and  fourteen  of  Queen  Elizabeth,  including 
the  proof  of  her  portrait  taken  with  the  dress  on  in 
w^hich  she  went  to  church  to  return  thanks  for  the 
defeat  of  the  Spanish  Armada ;  five  proof  portraits 
of  Sir  Francis  Bacon,  one  an  engraver's  proof,  be- 
sides other  prints  and  views,  and  five  mezzotint 
portraits;   the  whole  bound  in  citron  levant.     "The 

332 


French  Revolution,"  by  Thomas  Carlyle,  Japan 
paper,  containing  ninety-one  extra  proof-prints  and 
about  fifty  portraits,  is  also  a  worthy  book. 

"An  Old  Man's  Diary,"  forty  years  ago,  for 
1832,  1833,  only  twenty-five  copies  printed,  strictly 
for  private  circulation  (1871,  1872),  is  a  curious  and 
very  interesting  book ;  it  is  a  quarto,  in  four  parts ; 
there  are  extensive  manuscript  additions  on  the 
margins  by  Mr.  Collier,  and  a  most  interesting  and 
valuable  collection  of  autograph  letters  and  docu- 
ments, accompanied  by  an  enlarged  manuscript  in- 
dex to  the  "Diary,"  in  the  handwriting  of  the  author, 
J.  P.  Collier ;  there  are  also  in  the  book  eighty- 
three  signed  autograph  letters ;  document  signed 
by  Charles  I. ;  poem,  fifty-five  lines,  by  Tom  Moore ; 
another,  fifty-seven  lines  ;  and  an  unpublished  song, 
"  Sweet  Betsy  Ogle,"  by  Charles  Dickens. 

One  more,  and  we  close  our  review  of  this  col- 
lection ;  it  is  "  The  Life  and  Times  of  Benjamin 
Franklin,"  edited  by  James  Parton.  This  volume 
is  extended  to  eight  by  the  insertion  of  two  hun- 
dred and  forty-nine  portraits  of  Franklin,  including 
one  hundred  and  sixty-three  proofs,  many  of  them 
very  rare.  There  are  also  added  seven  hundred 
and  fifty-five  portraits  of  persons  mentioned  in 
the  text,  besides  one  hundred  and  seventy-three 
views,  twenty-one  autograph  letters  signed  by  B. 
Franklin,   nineteen   signed  by   W.    Franklin,    two 

333 


signed  by  D.  Franklin,  and  four  signed  by  Dr. 
Fothergill.  There  are  many  interesting  documents 
of  Franklin  discussing  matters  of  great  public  and 
private  import,  consisting  of  proclamations,  orders, 
bills,  appointments,  manuscript  reports  of  Dr. 
Franklin  and  other  commissioners  charged  by  the 
King  of  France  with  the  examination  of  animal 
magnetism  (London,  1785);  title-pages  of  books 
published  by  Franklin,  bearing  date  1721,  i745f 
and  many  others;  copies  of  the  "New  England" 
Courant,"  1722,  1724;  "The  Penn  Packet,"  1778; 
"London  Gazette,"  1783;  also  "The  Penn  Ga- 
zette," 1742,  1744,  1748;  copies  of  the  "Poor 
Richard  Almanack"  for  1733,  1734,  1735,  1736. 
Besides  the  privately  illustrated  books,  the  story 
of  which  is  only  half  told  here,  there  is  a  vast  num- 
ber of  early  printed,  rare,  and  even  unique  books. 
We  shall  notice  but  a  few  of  these  splendid  per- 
formances. Shakspeare  is  represented  in  the  first 
four  folios  —  matchless  copies — the  value  of  which 
we  shall  never  know  until  another  perfect  set  is 
offered  for  sale.^  Also,  the  thirteen  quartos  of 
Shakspeare,   superbly  bound  by  the  best  French 

1  This  noble  first  folio  is  the  best  authoritative  version  of  the  work  of  one 
of  the  greatest  minds  that  the  world  ever  knew.  As  the  original  quarto  edi- 
tions of  Shakspeare's  plays  have  risen  in  value,  so  that  they  have  become 
veritable  livres  de  luxe  only  to  be  obtained  at  the  highest  rate  by  the  most 
enthusiastic  collectors  ;  so,  also,  this  first  folio  has  gone  up  in  price.  Thirty- 
five  years  ago  $500  would  have  secured  a  good  copy ;  now  it  cannot  be 
obtained  at  all,  or  only  as  an  occasion  offers  which  may  not  happen  in  twenty 

334 


and  English  binders,  as  Michcll,  Chambolle  Duru, 
Lortic,  David,  Kaufman,  and  others ;  also  the 
"Poems,"  1640,  with  both  titles.  "Charles  VI.," 
a  missal :  this  marvelous  manuscript  was  executed 
at  the  commencement  of  the  fifteenth  century  for 
Charles  VI.  of  France ;  it  came  to  the  present  owners 
from  the  imperial  collection  of  M.  Didot.  And 
now,  "La  Mort  d'Arthur,"  Caxton,  1485.  Caxton 
informs  us  that  he  finished  the  printing  of  "  La 
Morte  Darthur,"  as  he  entitles  the  book,  on  the  last 
day  of  July,  1485.  There  is  but  one  perfect  copy 
of  this  book  known  ;  it  was  formerly  in  the  Har- 
leian  library,  then  at  Osterly  Park.  It  was  pur- 
chased at  the  sale  of  this  library,  in  1885,  by 
Mr.  Pope.  There  is  an  imperfect  copy  in  Earl 
Spencer's  library.  (See  Riissell  Sfnzt/is  "  Old 
Authors.'')  This  ends  our  imperfect  description  of 
one  of  the  most  remarkable  libraries  in  America. 

Mr.  and  Mrs.  Pope  have  purchased  some  of  their 
privately  illustrated  books  already  illustrated  — 
already  made  up  —  but  the  number  of  volumes 
(not  enumerated  here)  which  they  have  completed 
and  which  now  await  the  binder  —  the  thousands 


years.  It  is  useless  to  speculate  on  the  price :  the  aspirant  who  has  the  long- 
est purse  will  win  the  prize.  Bernard  Quaritch,  four  years  ago,  had  a  copy 
catalogued  at  $6000.  The  Grenville  copy,  said  to  be  the  most  beautiful 
known,  brought  $580  in  1829.  The  Duke  of  Roxburgh's  copy  fetched  $500, 
at  Mr.  Baker's  sale  $825  ;  but  Mr.  Daniel's  copy  went  beyond  these  prices  — 
Mrs.  Burdett  Coutts  gave  for  it  $3410.  We  have  no  reason  to  doubt  that  a 
perfect  copy  will  yet  fetch  $20,000. 

335 


of  prints,  water-colors,  drawings,  and  autograph 
letters  which  they  have  accumulated  for  future 
assignment — are  indicative  of  great  industry  and 
enthusiasm. 

Mr.  Charles  Henry  Hart  of  Philadelphia  has 
made  some  very  imposing  volumes.  He  adopted  a 
method  and  has  never  deviated  from  it  in  illustrat- 
ing books ;  consequently  there  is  character  in  his 
accomplishments.  He  says:  "I  have  never  ex- 
tended a  book  by  having  the  page  inlaid,  as  I  con- 
sider it  destructive  to  the  character  of  the  book, 
apart  from  the  fact  that  it  makes  them  too  cumber- 
some for  enjoyable  use  ;  neither  have  I  made  scrap- 
books  of  my  illustrated  books  by  crowding  as  many 
prints  between  the  leaves  as  they  possibly  would 
bear,  but  have  discriminated  and  sought  to  place 
opposite  the  page  but  one  portrait  or  illustration 
of  the  most  important  subject  mentioned  on  the 
page.  I  have  also  paid  considerable  attention  to 
the  binding  of  my  books,  and  in  many  instances 
the  tooling  has  been  from  my  own  designs." 

Among  his  illustrated  books  are  Vosmaer's 
"Rembrandt:  His  Life  and  His  Works,"  royal 
octavo,  illustrated  by  one  hundred  and  fifty  prints, 
including  twenty  original  etchings  by  Rembrandt, 
two  of  them  in  very  early  state  and  the  remaining 
reproductions  by  Schmidt,  Bartsch,  Frey,  Waltner, 
and  others,  bound  in  full  orange  levant.     "Life  of 

336 


William  Sharp,  engraver,  with  a  descriptive  cata- 
logue of  his  works,"  by  W.  S.  Baker,  quarto,  large 
paper,  of  which  only  eleven  copies  were  printed. 
Size  of  page,  eleven  by  thirteen  inches.  Illustrated 
by  seventy-five  prints  engraved  by  Sharp,  including 
two  not  described  in  the  catalogue.  This  volume 
is  made  unique  and  additionally  interesting  by 
having  inserted  in  it  all  of  the  diplomas  granted 
by  foreign  academies  to  Sharp  for  his  work ;  also 
autograph  letters  of  Sharp.  It  was  illustrated 
abroad,  and  was  sold  in  the  Fairholt  sale  by  Leavitt. 

James  Boaden's  "Inquiry  into  the  Portraiture 
of  Shakspeare,"  quarto,  fifty  additional  portraits 
of  Shakspeare  inserted.  "Autobiographical  Recol- 
lections of  Charles  Robert  Leslie,"  two  volumes 
extended  to  four.  Mrs.  Anna  E.  Bray's  "  Life  of 
Thomas  Stothard,"  extended  to  two  volumes. 

W.  S.  Baker's  "Engraved  Portraits  of  Washing- 
ton," extended  to  two  volumes;  four  hundred 
portraits  of  Washington  inserted.  Baker's  "Amer- 
ican Engravers,"  illustrated  mostly  with  proof- 
prints,  large-paper  copy  extended  to  two  volumes. 
Included  in  this  volume  are  examples  of  engraving 
from  the  works  of  Field  and  Doolittle  which  are 
exceedingly  rare. 

"Memorial  of  Fenimore  Cooper."  "Washing- 
ton at  Valley  Forge."  John  Ouincy  Adams's 
"  Eulogy  on   Lafayette,"  a  large-paper  copy,  per- 

337 


haps  unique,  has  forty  different  portraits  of  Lafay- 
ette, besides  other  illustrations.  It  also  contains 
Lafayette's  letter  written  from  New-York,  Septem- 
ber 22,  1824,  to  the  Reception  Committee  at  Phila- 
delphia respecting  his  arrival  in  that  city ;  also 
Lafayette's  visiting-card,  the  identical  one  he  left 
with  Mrs.  Robert  Morris ;  invitations  to  the 
Lafayette  ball  at  Philadelphia ;  also  several  silk 
badg-es  worn  on  that  occasion.  All  the  above  are 
admirable  books.  Then  come  William  Ellery 
Channing's  "Criticism  on  Napoleon  Bonaparte," 
with  thirty-five  portraits  of  Napoleon  and  two 
autographs,  one  as  Napoleon  and  the  other  as 
Bonaparte;  George  H.  Moore's  "Treason  of 
Charles  Lee,"  with  eight  portraits;  and  many 
other  "Americana." 

Horace  Binney's  "  Leaders  of  the  Old  Bar." 
Joseph  Hopkinson's  "Address  Before  the  Penn- 
sylvania Academy  of  the  Fine  Arts,"  18 10.  Among 
the  illustrations  is  the  first  ticket  issued  by  the 
Academy,  signed  by  George  Clymer  as  President, 
who  was  also  one  of  the  Sicrnersof  the  Declaration 
of  Independence.  George  Ticknor's  "  Life  of 
William  Hickling  Prescott,"  quarto:  all  the  prints 
are  proof  John  Pye's  "Patronage  of  British 
Art"  and  Wilkie  Collins's  "Life  of  his  Father" 
are  both  lovely  books. 

Mr.  Hart  has  in  process  of  illustrating  Mason's 

338 


"  Life  of  Gilbert  Stuart  ";  "Thorndike  Perkins"; 
"John  Singleton";  "Copley  and  His  Works"; 
Sergeant's  "  Life  of  Major  Andre  "  ;  Parton's  "  Life 
and  Times  of  Franklin,"  for  which  he  has  already 
more  than  two  hundred  portraits  of  Franklin ; 
Spooner's  "  Dictionary  of  Painting  and  Engraving," 
for  which  he  has  over  one  thousand  portraits ;  P. 
M.  Irving's  "  Life  of  Washington  Irving";  William 
Dunlap's  "  History  of  the  Arts  of  Design";  "Joseph 
Nollekins  and  His  Times,"  for  which  he  has  a  large 
amount  of  most  interesting  original  material  secured 
at  the  Mayar  sale  in  London.  To  Mr.  Hart  we  may 
apply  the  Latin  adage,  niJiil quod tetigit  non  ornavit. 
One  of  the  most  notable  collections  of  books, 
though  small,  in  this  country  was  that  of  Robert 
Lenox  Kennedy,  of  the  city  of  New- York.  It  was 
famous  specially  for  its  manuscripts,  incunabula, 
black-letter  and  rare  editions,  and  also  for  its  pri- 
vately illustrated  books.  Among  the  former  was  the 
incomparable  editio  princeps  of  Homer  printed  by 
the  Neili  at  Florence  in  1488,  and  which  Edward 
Gibbon  thought  worthy  of  being  perpetuated  by 
recording  it  in  his  "  Decline  and  Fall  of  the  Roman 
Empire " ;  also  the  first  folio  of  Shakspeare ; 
"Samuel  Purchas,  His  Pilgrimes  "  ;  ^  "Hierocles," 
1475,  by  the  first  Roman  printer  ;  and  many  others. 

1"  Universal  Paleography,"  by  M.  J.  B.  Silvestre.  "This  is,  perhaps, 
the  finest  book  in  the  world,  and  the  most  interesting  to  the  scholar  and  the 
man  of  taste.     It  contains  three  hundred  facsimiles  of  the  choicest  manu- 

339 


Among'  the  privately  illustrated  books  were 
'*  Ariosto,"  in  four  quarto  volumes,  with  two  sets  of 
prints  before  letters,  after  Titian,  Eisen,  Ficquet, 
Cochin,  Lingee,  Marsand,  and  others.  Miss  Mary 
Berry's  "Journal  of  Correspondence  from  1783  to 
1852,"  by  Lady  Theresa  Lewis,  in  three  volumes, 
one  hundred  and  seventy  inserted  portraits;  Mrs. 
Mary  Granville  Delany's  "Autobiography  and 
Correspondence,"  six  volumes,  two  hundred  and 
sixty-two  portraits  inserted;  "  Fleurs  de  Persil"; 
original  edition  of  Madame  Bovary ;  "  Jean  La 
Fontaine,"  18 14,  six  volumes  bound  in  crushed 
levant,  by  Rousselle ;  "Alain  Rene  Le  Sage," 
the  works  of,  in  twelve  volumes,  illustrated  ;  "  Jean 
Baptiste  Moliere,"  six  volumes,  portraits  and  views 
inserted;  "Manon  Lescaut";  "  Arouet  de  Voltaire," 
in  five  volumes ;  two  sets  of  Moreau  and  Mounet, 
bound  by  Emile  Rousselle  in  brown  crushed  levant; 
Philip  Gilbert  Hamerton,  "Etchings  and  Etchers," 
extended  to  two  volumes  by  the  rarest  etchings, 
many  of  which  cost  from  thirty  to  fifty  dollars  each  : 
the  whole  bound  by  David  in  matchless  style. 
Also  Samuel  Pepys's  "Diary,"  that  wonderful  lit- 
erary mosaic  of  things  great  and  small,  in  church 
and  state,  in  politics  and  affairs,  in  business  and 
society,   in   the  world  of  scandal  and  intrigue,   in 

scripts  in  Europe.  The  French  edition  of  this  work  cost  nearly  one  hun- 
dred thousand  dollars  in  getting  up ;  only  two  hundred  and  fifty  copies 
were  printed." 


art,  science,  and  literature,  and  in  the  daily  and 
household  life  and  customs  of  artisans,  merchants, 
gentry,  nobility,  and  even  of  royalty  itself.  Nowhere 
else  can  be  found  so  complete  a  bird's-eye  view  of 
the  England,  or  rather  of  the  London,  of  the  last 
days  of  the  Rump  and  the  first  nine  years  of  the 
Restoration,  as  in  the  unique  diurnal  jottings  of  this 
prince  of  gossips  and  most  indefatigable  of  ''re- 
porters." It  was  extended  by  a  vast  number  of 
proof-prints  to  four  volumes,  and  bound  by  David. 

Among  the  bindings  of  Mr.  Kennedy  we  note 
examples  from  the  collections  of  Pompadour,  Col- 
bert, Richelieu,  Grolier,  and  bindings  of  Maroli, 
De  Thou,  D'Hoym,  Le  Gascon,  Boyet,  Thouvenon, 
Clovis  Eve,  David,  Cape,  Derome,  Zaehnsdorf, 
Bedford,  and  Trautz-Bauzonnet.  This  collection 
was  dispersed  in  1889. 

None  of  th^  first  American  illustrators  began 
early  in  life  ;  all  the  early  part  of  their  lives  seems 
to  have  been  spent  in  a  sort  of  preparation,  and 
they  did  not  ripen  into  the  work  until  past  the 
meridian.  This  is  not  true  of  the  present  genera- 
tion of  illustrators.  There  are  many  young  men 
named  in  this  monograph,  some  mere  boys  when 
they  began,  who  have  performed  marvels.  Mr. 
Edward  Kindberg,  formerly  of  Brooklyn,  now  re- 
siding in  New-York,  began  collecting  prints  with 
a  view  to  illustrating  books  at  the  age  of  sixteen. 

341 


He  is  a  young  man  yet,  but  he  is  old  in  the  craft. 
In  inlaying,  splitting,  repairing,  and  the  general 
preparation  of  his  prints  he  is  an  expert  whose 
performances  rank  with  the  best  efforts  of  the  pro- 
fessionals. Mr.  Kindberg  has  illustrated  Henri 
Martin's  "Age  of  Louis  XIV.,"  extending  the 
work  from  four  to  sixteen  volumes  by  the  inser- 
tion of  over  twenty-seven  hundred  prints,  consist- 
ing of  portraits  and  views.  To  attempt  special 
reference  to  portraits  of  exceptional  rarity  would 
occupy  more  space  than  can  be  devoted  to  the 
subject  here;  we  can  only  say  that  the  portraits 
were  all  unusually  fine,  many  proof,  proof  before 
letters,  and  India  proof  Here  is  also  Mrs.  Anna 
Eliza  Bray's  "  Life  of  Thomas  Stothard,"  ex- 
tended to  three  volumes.  These  volumes  contain, 
among  other  autographic  material,  the  corre- 
spondence between  Rev.  Dr.  Markham  and  Mr. 
Cadart,  the  publisher,  as  to  the  gentlest  manner  of 
announcing  to  Mr.  Stothard  the  accidental  death 
of  his  eldest  son  Charles. 

"  Outlines  of  the  History  of  Art,"  by  Wilhelm 
LUbke,  extended  from  two  to  eight  volumes.  "A 
Biographical  and  Critical  Dictionary  of  Painters, 
Engravers,  Sculptors,  and  Architects,"  by  S. 
Spooner,  extended  from  two  to  ten  volumes,  to- 
gether with  Ottley's  "Supplement,"  in  two  vol- 
umes.    No  prominent  subject  has  been  omitted  in 

342 


these  volumes ;  there  are  portraits  of  artists  and 
also  engraved  specimens  of  their  works. 

"  Letters  of  the  Marchioness  Broglio  Solari,"  one 
of   the    maids    of   honor    to    the    Princess    Maria 
Louise  de  Lamballe ;    "The   Life  and   Works  of 
Raphael     Sanzio,"    by    Alfred    Baron    von    Wol- 
zogen ;   "The  Shadow  of  the  Pyramid,"  by  Robert 
Ferguson;      "Italy     and     Italian    Literature,"    by 
Charles  Herbert.  "A  Paper  of  Tobacco,"  by  Joseph 
Finne.     This   is   a    most    remarkable    subject    for 
illustration  ;  the  material  is  almost  endless.      It  is  a 
neat  and  tidy  little  work.     And  yet  "Tobacco"  is 
the  title  of  a  book  in  ten  atlas  folio  volumes,  filled 
with  boundless  associations  of  the  theme  covering 
all  time  known  in  the  history  of  the  weed,  and  in  all 
countries  of  the  globe.     It  was  gotten  up  in  Lon- 
don and  is  now  in  this  country,  the  present  owner 
having  paid  for  it  $750,  about  one  third  its  cost. 
"The  Book-Lover's   Enchiridion,"   by   Alexander 
Ireland;    "Rejected   Addresses,"   by    Horace    and 
James  Smith ;  Lord  Byron's  "Bards  and  Reviewers," 
Richardson  edition,   large  paper;    "  Petrarca   and 
Dante,"  a  series  of  critical  essays  by  Ugo  Foscolo ; 
"  L'Eventail,"  par  Octave  Uzanne;  "  Maria  Stuart," 
by  Lamartine ;   "James  Hepburn,   Earl   of  Both- 
well,"  by  De  Peyster.     All  of  the  above  are  im- 
posing and  worthy  books,  and  do  not  exhaust  the 
catalogue  of  Mr.  Kindberg. 

343 


Rev.  Frederic  R.  Marvin  of  Great  Barrington, 
Mass.,  has  found  time,  aside  from  the  duties  of  his 
office,  to  do  some  private  illustrating.  He  has 
illustrated  "The  Poets  Laureate  of  England,"  by 
Walter  Hamilton,  by  the  insertion  of  seventy-two 
prints,  of  which  fifty-six  are  portraits;  also  some 
autograph  letters,  one  signed  from  Henry  James 
Pye  (Poet  Laureate)  to  Mr.  J.  Arding,  and  dated 
Jan.  5,  1784,  also  one  of  Alfred  Tennyson  (Poet 
Laureate),  an  autograph  letter  signed  from  Edward 
Lytton  Bulwer,  another  of  James  Montgomery,  and 
an  autograph  poem  signed  by  Peter  Pindar  (Dr. 
John  Wolcott) ;  also  a  specimen  of  the  handwrit- 
ing of  Queen  Victoria,  and  a  page  of  Robert 
Southey's  autograph  manuscript.  This  work  is  in 
one  volume,  bound  by  R.  W.  Smith  in  full  crushed 
levant.  Here  is  also  Henry  T.  Tuckerman's  "  Book 
of  the  Artists,"  extended  from  one  volume  to  two 
by  the  insertion  of  prints,  newspaper  clippings,  and 
autographic  material.  Nearly  every  artist  named 
in  the  book  is  represented  by  a  portrait;  there  are 
also  prints  of  leading  works  of  art,  and  autograph 
letters  and  manuscript.  Some  of  the  letters,  as 
those  of  Hiram  Powers  and  John  James  Audubon, 
are  of  peculiar  interest  for  the  matter  which  they 
contain.  A  great  portion  of  the  material  for  these 
volumes  was  selected  from  the  stock  of  the  Benja- 
mins, New- York ;  bound  in  crushed  levant  by  R. 

344 


W.  Smith.  Mr.  Marvin's  collection  contains  some 
interesting  sermons  by  important  persons,  in  manu- 
script ;  notably,  one  is  an  autograph  sermon  of  Cot- 
ton Mather,  preached  by  him  September,  1702  ;  and 
in  the  same  volume,  also  in  manuscript,  is  a  list  of 
the  persons  married  by  him  in  1701,  and  signed. 
The  whole  with  a  printed  title-page,  and  a  portrait  of 
Mather  by  W.  J.  Alais.  Also,  manuscript  reminis- 
cences of  Dean  Stanley,  by  Canon  Farrar,  March, 
1883;  "Nathaniel  Hawthorne  and  his  Wife,"  by 
Julian  Hawthorne,  two  volumes.  In  these  vol- 
umes are  inserted  letters  of  Hawthorne;  also  a 
letter  in  full,  a.  1.  s.,  from  Mrs.  Hawthorne  to  Miss 
Peabody,  and  another  to  Miss  Peabody  fromj  Mr. 
E.  P.  Whipple,  regarding  the  purchase  of  the 
Hawthorne  House  at  Concord  as  a  public  memo- 
rial. There  are  also  some  water-colors,  one  of  the 
Little  Red  House  at  Lenox,  where  Hawthorne  at 
one  time  lived.  The  house  was  entirely  destroyed 
by  fire  in  1880.  Dr.  Marvin  is  not  an  impulsive  or 
rapid  illustrator;  he  proceeds  slowly,  but  collects 
the  best  material,  does  his  own  inlaying,  and  makes 
few  mistakes  in  his  selections. 

We  look  with  great  admiration  upon  the  amiable 
and  persistent  illustrator  whose  moderate  resources 
are  not  up  to  his  fastidiousness,  but  who  has  large 
capital  in  efficacy,  and  who  can  always,  however, 
indulge  in  a  little  extravagance  in  one  direction  by 

345 


the  practice  of  a  little  economy  in  another ;  such 
men  frequently  accomplish  more  in  a  lifetime  than 
those  with  the  deepest  purses.  Mr.  Charles  H. 
Baxter  of  Brooklyn  presents  a  unique  type  of  print 
and  book  collector  of  the  latter  class — a  gentleman 
of  culture,  of  ample  means,  devoted  to  gun  and  dogs. 
He  was  fond  of  botanical  literature,  and  had  accu- 
mulated a  vast  number  of  prints  on  that  and  general 
subjects ;  he  was  an  enthusiast,  generous  to  his 
passion  for  books  and  art,  but  he  bought  and  stored 
away  with  an  unwise  economy,  and  during  a  long 
life  in  collecting  he  accomplished  absolutely  no- 
thing. There  are  few  book  and  print  collectors 
of  New-York,  survivors  of  the  past  thirty  or  forty 
years,  who  are  not  familiar  with  his  coupe  and  team 
of  sleek  bay  horses  and  colored  coachman,  which 
were  sure  to  be  encountered  in  making  the  rounds 
of  the  old  book  and  print  shops  of  New-York. 
Mr.  Baxter  had  illustrated  a  great  many  books, 
yet  he  never  had  a  print  inlayed  or  an  illus- 
trated book  bound,  and  if  any  such  have  found 
their  way  into  his  library,  they  were  the  work  of 
others.  The  prints  were  simply  placed  in  the  books 
and  stored  away  to  await  his  convenience  for  bind- 
ing— a  time  which  never  came.  His  books  and 
library  always  presented  an  untidy  appearance.  He 
had  illustrated  Spooner's  "  Biography  of  the  Fine 
Arts"  to  five  volumes  by  the  selection  of  over  one 

346 


thousand  portraits.    Not  an  artist  of  any  reputation 
was    unrepresented    in    this    work.      He   had  also 
illustrated    Isaac    Walton's    "Complete    Angler" 
(Bethune),  and  extended  it  to  two  volumes  by  the 
addition  of  two  hundred  prints  ;   also  another  copy 
of  the  same  work.      He  had  also  illustrated  "Me- 
moirs of  Charles  Maurice  Talleyrand,"  from  two  to 
four  volumes.     The  French  people  called  Talley- 
rand "  Buonaparte's  right  arm."    He  passed  through 
every  great  French  revolution,  and  died  a  natural 
death  at  eighty-four,  having  survived  the  Bastille, 
the  age  of  the  guillotine,  the  prison-ship,  and  the 
sword ;  he  had  triumphed  over  the  Republic,  the 
Democracy,  the  Despotism,  the  Restoration,  and 
the  Church.     In  his  eightieth  year  he  was  minister 
of  France,  ambassador  to  England,  counselor  and 
coadjutor  of  the  king.     He  had  outlived  everything 
but  his  vices,  which  were  greater  and  more  com- 
plicated than  those  of  any  man  who  had  ever  lived, 
but  not  greater  than  his  genius.     It  was  always  safer 
to  have  him  an  enemy  than  a  friend.      "There  are 
many  vices,"  said  he,  "which  do  not  deprive  us  of 
friends ;   there  are  many  virtues  which  prevent  us 
having  any."     The  boast  of  this  man  of  holy  orders 
was  that  his  intrigfues  and  liaisons  with  women  took 
place  in  his  chapel,  cloister,  and  at  the  confessional.^ 

l"La  Correspondence  d'Infames  Emigres  saisis  dans  leurs  maisons,"  etc., 
chez  Baudouin,  Paris,  au  2  or  I79t,  tome  IV.  pp.  6,  7. 

347 


Any  effort  to  illustrate  the  life  and  character  of 
this  infamous  apostate  by  prints,  mere  unemotional 
portraits  of  his  contemporaries,  must  necessarily 
be  a  failure.  Not  a  characteristic  trait  is  depicted 
in  all  the  vast  number  of  prints  which  have  been 
accumulated  by  Mr.  Baxter  for  this  work ;  and,  for 
aught  that  appears  in  the  illustrations,  Talleyrand 
may  have  been  the  most  virtuous  man  that  ever 
lived.^  It  is  here  that  the  combined  analytic  and 
artistic  skill  of  the  intelligent  hand-illustrator  or 
aquarellist  is  to  be  brought  into  requisition  to  bring 
out  the  true  tones  of  character.  This  work,  origi- 
nally in  two  volumes,  is  to  be  made  into  six;  the 
collection  of  prints  for  this  purpose  is  as  fine  as  we 
have  ever  seen.  The  next  is  Dr.  John  Doran's 
"  Annals  of  the  English  Stage,"  extended  from  two 
to  four  volumes,  a  work  of  an  entirely  different  char- 
acter from  the  last,  and  calling  for  quite  a  different 
class  of  illustrations ;  here  we  have  events,  stage 
scenes,  portraits,  costumes,  playbills,  etc.,  objects 
valuable  only  as  they  are  faithful  to  the  originals, 
with  no  play  for  the  imagination  or  creative  genius. 
And  now,  John  Milton's  "Paradise  Lost":  there 
were  three  copies  of  this  work  illustrated.      "Lord 

1  Talleyrand  was  evidently  a  man  of  clear  head  and  a  strong  logical  con- 
sistency, but  a  skeptic  in  morals  and  an  advocate  of  the  worst  theories 
of  social  life.  He  was  cultivated  in  music  and  poetry,  yet  he  was  ruth- 
less and  cruel ;  the  refinement  of  aristocratic  birth  and  good  society  had 
been  wasted  on  him.  His  political  misdeeds  have  obscured  all  his  literary 
merits. 


Byron,"  with  upward  of  two  hundred  ilhistrations, 
and  another  extended  to  three  volumes ;  W.  G. 
Blackie's  "Imperial  Gazetteer,"  one  thousand  illus- 
trations, portraits,  and  views  added,  extending  it 
from  two  to  five  volumes;  also,  James  Granger's 
"Biographical  History  of  England,"  with  four 
hundred  and  fifty  portraits  ;  Eli  Bowen's  "  Pictorial 
Sketch  Book  of  Pennsylvania"  ;  Samuel  G.  Drake's 
"  Biography  and  History  of  the  Indians  of  North 
America";  Evert  A.  Duyckinck's  "Cyclopsedia  of 
American  Literature  "  ;  Charles  Lanman's  "  Dic- 
tionary of  United  States  Congress";  John  Living- 
ston's "Portraits  of  Eminent  Americans";  "Earliest 
Churches  of  New- York,"  G.  P.  Disosway  ;  Edward 
Edwards's  "Anecdotes  of  Painters  who  have  Re- 
sided or  been  Born  in  England";  "Treatise  on  Wood 
Engraving,"  Jackson  and  Chatto  ;  Anna  Jameson's 
"Beauties  of  the  Court  of  Charles  II.";  Alexandre 
de  Laborde's  "Description  des  Nouveaux  Jardins 
de  la  France,"  etc.;  "Female  Aristocracy  of  the 
Court  of  Queen  Victoria,"  John  Saunders;  "Por- 
traits and  Memoirs  of  Eminent  Political  Reformers"; 
"Thomas  Stothard,"  Mrs.  Bray;  "Illustrations  of 
Conchology,"  Thomas  Brown;  "Transformations: 
a  Metamorphosis  of  Insects,"  P.  Martin  Duncan  ; 
"  Geography  of  Plants,"  by  E.  M.  C.  ;  "  Fish  and 
Fishing  in  the  United  States,"  Henry  W.  Herbert, 
J.  C.   Hofland ;    "British   Angler's  Manual,"  John 

349 


C.  Jay  ;  "A  Catalogue  of  Shells,  arranged  accord- 
ing to  the  Lamarckian  System";  "Sportsman's 
Repository,"  John  Scott;  "Sportsman's  Annual," 
illustrated  by  Edwin  Landseer,  A.  Cooper,  and 
Charles  Hancock;  "Sportsman  and  his  Dogs"; 
"Walton  and  Cotton's  Angler,"  two  copies;  J.  O. 
Westwood,  "Cabinet  of  Oriental  Entomology"; 
Charles  Knight's  "  Shakspeare,"  extended  to  ten 
volumes,  and  many  other  illustrated  works.  All  of 
these  works  have  the  prints  selected  and  placed  ; 
few  are  bound  ;  there  have  been  much  taste  and  art 
knowledge  displayed  in  their  selection,  but  they 
are  kept  in  a  very  slovenly  condition.  He  was  not 
an  illustrator,  but  simply  cehii  qui  acctimtile.  Mr. 
Baxter  has  died  since  the  above  notes  were  taken. 


350 


CHAPTER    VII. 

W.  C.  Crane.  E.  S.  Palmer.  John  D.  Bil- 
lings. A.  H.  Oilman.  Marshall  C.  Lefferts. 
William  L.  Keese.  J.  Pierpont  Morgan.  Tu- 
nis V.  HoLBRow.  Charles  B.  Hall.  Theodore 
Irwin.  W.  H.  Wyman.  Edward  Weisgerber. 
Miss  L.  E.  Walton.  O.  B.  Taft.  Mrs.  O.  B. 
Taft.  L.  G.  Turner.  Z.  T.  Hollingsworth. 
W.  Irving  Way.  I.  Remsen  Lane.  Robert 
Hoe,  Jr. 


IT  has  been  a  source  of  great  regret  with  us 
that  there  are  so  few  privately  ilhistrated 
books  on  French  history  and  biography. 
No  period  and  no  country  in  the  history  of  the 
world  present  such  a  panorama  of  brilliant  men 
and  women,  and  such  momentous  political  revolu- 
tions, as  France  from  the  time  of  Louis  XIV.,  seven- 

351 


teenth  century,  to  the  end  of  the  empire  under  Na- 
poleon Bonaparte,  1815,  embracing  about  one  hun- 
dred and  fifty  years.  Mrs.  Amelia  Gere  Mason 
believes  that  the  beginning  of  the  age  of  French 
literature  may  be  dated  from  the  organization  of 
the  Hotel  Rambouillet,  1620.  She  believes  that 
the  Salon  was  the  cradle  of  learning  and  of  polished 
society  in  Paris,  and,  we  may  add,  the  birthplace  of 
revolutions.  French  politics,  French  learning,  and 
French  society  of  this  period  were  synonymous,  and 
at  the  distance  from  which  we  now  view  it  we  can 
form  but  a  feeble  conception  of  the  Salon  and  its 
political,  literary,  and  social  influences.  It  was,  how- 
ever, eminently  French.  The  political  and  social 
elements  which  made  up  the  Salon  do  not,  nor  did 
they  ever,  exist  in  England  or  America,  nor  do  they 
longer  exist  in  France.  Salon  life  in  Paris  during 
the  seventeenth  and  eighteenth  centuries  must  be 
studied  to  be  understood — studied  as  an  anthropo- 
logical problem.  Its  history  was  the  history  of 
France,  military,  political,  financial,  and  social ;  and 
from  the  Hotel  Rambouillet  down  to  the  Salon  of 
Madame  Recamier,  after  the  fall  of  Bonaparte,  it 
commands  our  respect  for  the  homage  it  paid  to 
intellect  and  human  thought:  this  was  its  distin- 
tinguishing  trait,^     The  Salon,  however,  is  extinct; 

iWe  think  a  state  of  society  somewhat  similar  existed  in  ancient  Athens. 
And  there  are  some  marked  resemblances  in  the  history  of  society  at  Con- 
stantinople after  it  had  become  the  seat  of  the  Roman  Empire. 


there  are  no  modern  representatives  of  it  extant; 
the  Social  Club  is  its  hybrid  offspring.  With  the 
Salon  were  associated  the  names  of  the  most  distin- 
guished Frenchmen  and  Frenchwomen  that  have 
ever  lived.  Here  we  find  Corneille,  Dumesnil, 
Buffon,  Crebillon,  Voltaire,  Racine,  Rousseau,  Mo- 
liere,  Montesquieu,  Abbe  Prevost,  Diderot,  Turgot, 
Condorcet,  Madame  Du  Deffand,  D'Alembert, 
Madame  Campan,  Madame  de  Stael,  Madame 
de  Genlis,  Madame  Ancelot,  Lamartine,  Cuvier, 
Humboldt,  Volney,  Brissot,  Montalembert,  Guizot, 
Madame  de  Sevigne,  Madame  de  Lafayette,  Tal- 
leyrand, Beaumarchais,  Scarron,  Madame  de  Main- 
tenon,  Madame  Recamier,  Prince  of  Conde,  Talma, 
Saint  Simon,  and  hundreds  of  others.  The  only 
qualification  for  admission  seems  to  have  been  an 
intellectual  one.  There  were  no  morning  papers  in 
those  days,  and  the  intelligent  dissemination  of  in- 
formation was- by  means  of  the  Salon.  Here  were 
actors,  actresses,  poets,  artists,  dramatists,  priests, 
financiers,  literary  men  and  women  of  every  grade. 
Men  of  the  army,  monarchists,  encyclopedists,  re- 
publicans, philosophers,  philanthropists,  natural- 
ists—  in  short,  all  that  went  to  make  France  gay, 
learned,  accomplished,  and  revolutionary — attended 
the  Salon.  An  illustrated  history  of  the  Salon,  from 
the  Hotel  Rambouillet  to  the  gatherings  of  the 
Salon  of  Madame  Recamier,  would  constitute  the 

353 


finest  and  most  brilliant  privately  illustrated  work 
in  the  world.  It  would  contain  the  history  of 
France  during  this  halcyon  period.  The  subject 
would  not  exhaust  itself  in  a  hundred  volumes. 
"  Sights  that  I  have  Seen."  Rev.  Mr.  Dutens  pub- 
lished a  little  work  in  1811  of  the  above  title,  in 
which  he  said:  "  I  have  seen  what  has  no  parallel 
in  history,  a  little  Corsican  gentleman  conquer  Italy; 
force  the  Emperor  of  Germany  to  make  a  disgrace- 
ful peace;  take  Malta  in  two  days;  Egypt  in  a 
month;  return  from  thence  and  place  himself  on  the 
throne  of  the  Bourbons  —  and  all  in  less  than  four 
years"  (from  May,  1796,  to  November,  1799).  "I 
have  seen  that  same  little  Corsican,"  said  he,  "  in  a 
single  battle  decide  at  once  the  fate  of  Germany  and 
Italy.  I  have  seen  him  order  the  Pope  to  Paris  to 
crown  him  Emperor  of  the  French  in  1 804,  and  after- 
ward depose  the  same  Pope  and  deprive  him  of  pos- 
sessions which  his  ancestors  had  enjoyed  for  more 
than  a  thousand  years. 

"  I  have  seen  him  destroy  the  power  of  the  King  of 
Prussia  in  fifteen  days,  and  strike  all  Europe  with 
dismay.  I  have  seen  him  dethrone  five  kings  and 
create  eight  others,  annex  Holland  to  France, 
dictate  to  Spain  as  if  it  were  a  French  province, 
employ  her  forces  as  his  own,  and  at  last  take 
possession  of  the  whole  kingdom."^ 

1  Vie  politique  et  militaire  de  Napoleon,  par  Jomini,  4  vols.,  1827. 

354 


Mr.  W.  C.  Crane  of  New- York  is  putting  in 
form  for  perpetuation  a  literary  monument  to  the 
memory  of  this  httle  Corsican.  He  is  extending 
and  enlarging  the  text  of  George  M.  Bussey's  "His- 
tory of  Napoleon,"  into  which  will  be  inserted  not 
less  than  twelve  hundred  portraits.  He  has  now 
over  six  hundred  portraits  of  Napoleon,  the  finest 
that  we  haye  ever  seen.  The  size  of  the  work  is 
twelve  and  a  half  inches  by  sixteen  and  a  half  inches, 
and  will  consist  of  about  fourteen  volumes.  There 
are,  besides  the  portraits,  a  great  many  autograph 
letters  and  documents  signed  by  Napoleon  and 
his  family  and  marshals.  For  pure,  clean  work  in 
illustrating  by  engravings,  we  have  never  seen  a 
work  superior  to  this.  Mr.  Crane  usually  does  his 
own  inlaying;  in  the  present  instance,  however,  it 
is  being  done  by  Lawrence  and  Poole.  This  work, 
when  finished,  will  probably  be  the  finest  illustrated 
"Napoleon"  in  existence.  Mr.  Crane  has  also 
illustrated  the  "Dramatic  Mirror,"  embracing  a 
period  from  1660  to  1808;  it  contains  about  three 
hundred  and  fifty  portraits  and  views,  in  four  vol- 
umes ;    inlaying  done  by  R.  Clarke  of  London. 

The  followinof  are  some  of  his  choice  works: 
"Life  of  George  Washington"  (Irving),  extended 
to  ten  volumes  by  the  insertion  of  twelve  hundred 
and  sixty-six  portraits  and  views  —  one  hundred 
and  eight  different  portraits  of  Washington. 

355 


"Three  Months  in  the  Southern  States,"  by  Fre- 
mantle.  This  book  was  printed  at  Mobile,  1864, 
in  wall-paper  cover,  text  inlaid  by  Mr.  Crane,  one 
hundred  and  sixty-three  portraits  and  views  added 
— a  war  relic.  We  also  have  Benjamin  Franklin's 
"Autobiography,"  in  one  volume,  extended  to  two 
by  the  insertion  of  two  hundred  and  seven  prints. 

"  Reminiscences  of  Thomas  Dibdin,  of  the  Thea- 
ter Royal,  Covent  Garden,  Drury  Lane,  Hay- 
market,"  etc.,  with  ninety-four  portraits  added.  "A 
Monograph  on  Privately  Illustrated  Books"  (first 
edition),  Tredwell,  one  hundred  and  seven  por- 
traits and  views  inserted ;  bound  by  Bradstreet  in 
brown  crushed  levant. 

"  Proceedings  of  a  General  Court-Martial,"  held 
at  New  Brunswick,  N.  J.,  by  order  of  General 
Washington,  for  the  trial  of  Major- General  Lee, 
1778,  forty-five  portraits  added.  "Memoirs  of 
Marshal  Ney,"  with  thirty-seven  portraits  and 
views  added.  "  Anecdotes  of  Napoleon  Bonaparte 
and  his  Times,"  Cunningham,  extended  to  two  vol- 
umes, two  and  three-fourths  by  four  and  one-fourth 
inches,  one  hundred  and  thirty-six  prints  added, 
some  exquisite  proof  portraits:  this  is  a  delight- 
ful little  book.  "The  History  of  Napoleon  Bona- 
parte," two  volumes,  four  by  six  inches,  extended 
to  four  volumes,  two  hundred  and  sixty-eight  por- 
traits and  views  added ;  also  another  beautiful  and 

356 


handy  copy.  "  The  Stage  Life  of  Mary  Anderson," 
by  Winter,  fifty-six  portraits  and  views  added. 
"George  Eliot's  Life,  as  Related  in  her  Letters  and 
Journal,"  by  Cross,  three  volumes,  two  hundred 
prints  inserted.  "  Life  of  Major- General  Von 
Steuben,"  by  Knapp,  with  forty-two  portraits  added. 
The  last  from  the  library  of  Charles  L  Bushnell. 

"  Recollections  of  Lafayette,"  by  A.  A.  Parker, 
one  volume,  extended  to  two  by  the  addition  of 
three  hundred  prints  and  autographs.  The  author 
of  this  work.  Colonel  Amos  A.  Parker,  is  still  living, 
and  is  nearly  one  hundred  years  old.  Everett's 
"  Life  of  Washington,"  extended  from  one  to  two 
volumes.  Parton's  "Life  of  Aaron  Burr,"  from  one 
to  two  volumes.  "Siege  of  Savannah,"  by  C.  C. 
Jones :  there  are  about  one  hundred  prints  inserted 
in  this  volume.  "Vindication  of  the  Captors  of  Major 
Andre,"  by  Egbert  Benson,  illustrated  by  forty-six 
portraits  and  views.  "Wyoming  and  Its  History," 
by  W.  L.  Stone,  1844;  seventy-five  portraits  and 
views  added.  "  Life  of  James  Watt,"  by  M.  Arago  ; 
one  hundred  and  five  portraits  inserted,  "  The 
Fall  of  New  France,"  1 755-1 760,  by  Gerald  E. 
Hart  (Montreal)  ;  thirty-six  fine  old  portraits 
added.    "Life  of  Thomas  Gray,"^  by  Gosse,  eighty - 

1  The  Rev.  Mr.  Temple,  in  a  letter  to  Boswell,  says  that  "  Gray  was 
perhaps  the  most  learned  man  in  Europe.  He  was  equally  acquainted  with 
the  elegant  and  profound  parts  of  science,  and  that  not  superficially  but 
thoroughly.     He  knew  every  branch  of  history,  both  natural  and  civil ;  had 

357 


three  portraits  added;  inlaid  by  Mr.  Crane.  "The- 
atrical Portraits,  or  the  Days  of  Shakespeare,  Bet- 
terton,  Garrick,  and  Kemble,"  by  W.  Donaldson, 
extended  by  the  insertion  of  seventy-six  dramatic 
portraits.  *'  Reminiscences  of  Thomas  Carlyle," 
by  Froude ;  seventy-three  portraits  and  views 
added.  "Capture  of  Nathan  Hale,"  by  Stuart; 
one  hundred  and  seven  prints  added.  Orberry's 
"Dramatic  Mirror"  (London,  1827),  extended  to 
three  volumes  by  the  insertion  of  three  hundred 
portraits  and  views  and  thirty-nine  autographs. 
"  Life  of  Lord  Horatio  Nelson,"  by  Southey, 
1842  ;  i2mo,  thirty-eight  portraits  added.  "  His- 
tory of  the  Expedition  to  Russia  Undertaken  by 
the  Emperor  Napoleon  in  the  Year  18 12,"  by  Gen- 
eral dc  Segur  (London,  1826)  ;  two  volumes, 
ninety  portraits  added.  "  Napoleon  and  the  Grand 
Army  in  Russia ;  or,  A  Critical  Examination  of 
Count  Philippe  de  Segur's  Work,"  by  General 
Gourgaud ;  fifty-five  portraits  added.  "Napo- 
leonic Ideas" — "Des  Idees  Napoleoniennes,"  par 
Le  Prince  Napoleon  Louis  Bonaparte ;  thirty-two 
prints  added.  Mr.  Crane's  inlaying  was  done  princi- 
pally by  himself;  the  bindings  by  Neuman. 

The  next  is  the  interestinij  recueil  of  E.  S.  Pal- 

read  all  the  original  historians  of  England,  France,  and  Italy,  and  was  a  great 
antiquarian  —  criticisms,  metaphysics,  morals,  politics,  made  a  principal  part 
of  his  study."  He  was  author  of  an  "  Elegy  Written  in  a  Country  Church- 
yard," also  "  De  Principiis  Cogitandi." 


mer,  of  New  London,  Connecticut,  which  is  largely 
French.  Mr.  Palmer  has  illustrated  "The  Age  of 
Louis  XIV."  "Decline  of  the  Monarchy,"  trans- 
lated from  Martin's  "  History  of  France"  by  Mary 
L.  Booth ;  four  volumes,  octavo,  only  twenty-five 
printed.  To  these  volumes  have  been  added  three 
hundred  and  fifty  portraits  and  views;  bound  by 
Rulan,  Paris,  in  full  levant  to  a  Grolier  pattern. 

Miss  Julia  Pardoe's  works,  "  Louis  XIV.," 
"  Francis  I.,"  "  Marie  de  Medicis,"  all  first  editions, 
with  about  two  hundred  prints  inserted,  mostly 
portraits  in  proof,  bound  by  Rulan,  in  an  original 
and  very  beautiful  design.  "  Life  and  Times  of 
Louis  XIV., "^  by  G.  P.  R.  James.  This  work  has 
over  one  hundred  prints  and  views  inserted,  repre- 
senting the  court  life  of  this  magnificent  reign ; 
bound  by  A.  Matthews,  in  full  crushed  levant. 
Also  "A  History  of  the  House  of  Orleans,"  in 
three  volumes,  with  one  hundred  prints  inserted. 
"Letters  and  Speeches  of  Oliver  Cromwell,"  ex- 
tended to  three  volumes  by  the  insertion  of  two 
hundred  prints ;  bound  by  Stikeman  &  Co. 

H,  Adolphe  Taine's  "  History  of  English  Liter- 
ature," two  volumes  extended  to  four,  one  hundred 

1  During  a  reign  of  seventy-two  years  the  Grand  Monarch  reared  the 
fabric  of  absolute  monarchy  in  France,  which  survived  him  seventy  years ;  and 
when  it  was  shaken  to  pieces  by  the  storm  of  the  Revolution,  still  the  ruling 
principles  of  his  administration,  uniformity  and  centralization,  survived  the 
wreck.  It  was  the  most  magnificent  period  of  French  history,  and  France 
still  has  a  national  longing  for  the  grandeur  of  that  age. 

359 


and  fifty  prints  and  portraits,  mostly  India  proofs, 
added;  bound  by  Rulan.  Henry  Morley's  "Rous- 
seau, Voltaire,  and  Diderot,"  five  volumes,  half 
levant,  by  Stikeman,  to  which  one  hundred  prints 
have  been  added.  "  Men  and  Manners  of  France," 
by  Arsene  Houssaye,  extended  to  three  volumes, 
two  hundred  portraits  inserted ;  bound  in  full  le- 
vant by  Desamblanc  &  Co.  to  an  original  pattern. 
Also  the  following:  "Wits  and  Beaux  of  Society," 
by  Grace  and  Philip  Wharton,  four  volumes,  only 
twelve  copies  printed,  two  sets  of  portraits,  three 
hundred  portraits  and  prints  inserted;  full  levant, 
by  Rulan,  Paris.  Samuel  Johnson's  "Lives  of  the 
Poets,"  one  hundred  and  fifty  portraits  added;  three 
volumes,  full  levant,  by  A.  Matthews.  Boswell's 
"Johnson,"  five  volumes,  two  hundred  added  prints. 
Mr.  Palmer  has  many  other  illustrated  works  in 
his  library,  but  the  above-named  are  the  most 
important. 

There  are  but  few  illustrators  of  the  history  of 
the  late  civil  war.  The  collections  of  Hon.  C.  C. 
Jones  of  Georgia,  and  Charles  B.  Hall  of  New- 
York,  are  the  most  important.  Mr.  John  D.  Bill- 
ings of  Cambridgeport,  Mass.,  has  illustrated  "  The 
Tenth  Massachusetts  Battery,"  being  a  history  ot 
that  company  in  the  war.  Mr.  Billings  is  the 
author  of  this  work,  and  has  illustrated  it  by  insert- 
ing two  hundred  portraits,  sketches  of  places,  letters 

360 


and  autographs  of  prominent  Union  and  Confed- 
erate generals,  photographs,  etc.;  one  thick  volume, 
octavo.  Also  "Hard  Tack  and  Coffee,"  a  work  of 
which  Mr.  Billings  is  likewise  the  author.  In  this 
volume  he  has  inserted  one  hundred  portraits.  The 
inlaying  was  byT.  W.  Lawrence,  binding  by  Little 
&  Brown,  Boston.  He  has  also  illustrated  Sheri- 
dan's "Memoirs"  by  the  insertion  of  sixty  portraits. 

Portraiture  and  literary  relics  of  the  great  strug- 
gle of  the  civil  war  will  in  the  future  be  much  sought 
after  and  prized. 

Pay-Director  A.  H.  Oilman,  U.  S.  Navy  (re- 
tired since  1886),  has  made  a  compromise  between 
his  love  for  musical  literature  and  art  by  illustrating 
a  quarto  edition  of  "  Commemoration  of  the  Cen- 
tennial Anniversary  of  the  Birth  of  George  Fred- 
erick Handel,"  which  took  place  in  Westminster 
Abbey  and  the  Pantheon  on  May  26,  May  27,  May 
29,  June  3,  and  June  5,  1784,  by  Charles  Burney, 
Musical  Director,  F.  R.  S.  The  pieces  selected  for 
this  great  musical  entertainment  were  from  Han- 
del's works,  and  were  executed  by  a  band  of  more 
than  five  hundred  voices  and  instruments.  This 
work  Mr.  Oilman  has  illustrated  by  one  hundred 
and  fifteen  portraits  of  almost  spotless  purity,  many 
being  extremely  rare  and  all  valuable.  There  are 
fifteen  portraits  of  Handel,and  many  of  distinguished 
musicians  who  assisted  in  the  ceremonies.     Among 


24 


361 


the  latter  were  Mrs.  Elizabeth  Billington,  who  im- 
mortalized herself  by  her  marvelous  rendering  of 
"Rejoice,  O  Daughter  of  Zion,"  and  Mrs.  Eliza- 
beth Mara,  whose  performance  of  the  "  Messiah," 
"I  know  that  my  Redeemer  liveth,"  has  never 
before  or  since  been  equaled.  She  rose  superior  to 
every  competitor,  and  seemed  to  have  fully  em- 
bodied in  sound  the  sublime  conception  of  the  great 
musician  whose  birth  and  genius  she  contributed 
her  matchless  talent  to  commemorate.^  We  have 
never  known  so  grand  and  so  successful  a  musical 
entertainment  as  this ;  the  net  profits,  which  were 
paid  over  to  charitable  institutions  of  England,  were 
thirty-eight  thousand  dollars. 

Besides  the  portraits  above  named,  there  are  some 
views  and  head  and  tail  pieces  inserted.  The  book- 
plate of  Richard  Bull,  the  former  owner  of  the 
volume,  has  been  preserved  and  inserted.  All  the 
prints  were  selected  with  great  care,  chiefly  by  Mr. 
J.   O.  Wright  of  New-York,   and  B.   F.   Stevens, 

Esq.,  of  London. 

The  work  is  replete  with  illustrations,  and  no 
illustrator  has  juster  cause  for  pride  in  his  handi- 
work than  Mr.  Oilman  in  this  princely  volume.  It 
has  a  full  descriptive  index  of  all  the  insertions ;  it 
is    also    further    illustrated   with   numerous   inlaid 

1  Madame  Mara  retired  from  the  stage  and  settled  in  Moscow.  She  was 
burned  out  when  Bonaparte  took  the  city,  and  lost  a  large  amount  of  her 
wealth. 

362 


prints  of  ancient  musical  instruments.  The  bind- 
ing was  by  Stikeman  &  Co.,  in  dark-green  crushed 
levant,  sides  decorated  with  Renaissance  scrolls  and 
emblematic  tooline.  Stikeman  &  Co.  have  done 
themselves  great  credit  in  the  binding  of  this  vol- 
ume. Mr.  Oilman  has  also  illustrated  "  Historical 
Memorials  of  Westminster  Abbey,"  by  Dean  Stan- 
ley ;  one  volume  extended  to  three,  with  extra  title- 
pages.  This  work  contains  four  hundred  and 
seventy-six  illustrations ;  there  are  three  portraits 
of  the  Dean.  This  is  a  small  book,  a  twelvemo;  the 
prints  are  all  uniform,  and  have  been  selected  with 
ofreat  care  at  home  and  abroad.  These  are  well- 
illustrated  and  interesting  volumes ;  they  were 
bound  by  Stikeman  in  crimson  crushed  levant. 
Also  "Old  and  New  London,"  in  six  volumes,  now 
extended  to  fifteen,  and  containing  upward  of  two 
thousand  illustrations,  portraits  and  views,  all  good 
and  some  of  great  rarity.  Mr.  Oilman  does  his 
own  inlaying,  cleansing,  and  restoring. 

Conspicuous  among  the  book-collectors  of  the 
city  of  New-York  stands  Mr.  Marshall  C.  Lefferts. 
He  is  also  of  that  great  majority  who  have  extra- 
illustrated  many  books  and  finished  but  few.  The 
most  important  of  his  completed  works  are  Sam- 
uel Pepys's  "Diary,"  Becker's,  large  paper,  six  vol- 
umes, extended  to  thirteen  by  the  insertion  of  over 
sixteen  hundred  portraits,  views,  title-pages,  broad- 

363 


sides,  autograph  letters  and  documents.  The  ma- 
jority of  the  prints  are  contemporary,  or  nearly 
so,  by  such  engravers  as  Faithorne,  Van  Pass, 
Loggan,  White,  Blooteling  and  others.  "Sir 
Walter  Scott's  Works,"  Abbotsford  edition,  original 
parts,  including  the  novels  in  twelve  volumes ; 
"Prose  and  Poetical  Works,"  and  "Life,"  by  Alex- 
ander Lockhart:  in  all  seventeen  volumes,  extended 
to  forty,  and  containing  about  five  thousand  prints, 
portraits,  views,  and  suites  of  prints  illustrating 
the  novels ;  also  many  autograph  letters  in  the 
"  Life."  A  large  majority  of  the  prints  are  on  In- 
dia paper.  "Such  is  the  beauty  of  these  volumes," 
said  an  expert  to  us  who  had  examined  them  criti- 
cally, "that  any  praise  bestowed  upon  them  would 
fall  far  below  their  real  merit."  "  Horace  Walpole 
and  His  World,"  large  paper,  extended  to  three 
volumes  by  the  insertion  of  about  three  hundred 
prints,  mostly  India  proof,  of  the  portraits  by  Bent- 
ley  used  in  his  edition  of  "  Walpole's  Letters,"  and 
mezzotint  portrait  by  Reynolds. 

Mr.  Lefferts  has,  in  various  stages  of  completion, 
Anna  Jameson's  "  Beauties  of  the  Court  of  Charles 
II.,"  large  paper,  folio,  original  edition  ;  Sir  Robert 
Naunton's  "  Fragmenta  Regalia,"  large  paper, 
folio,  with  early  prints  from  the  "  Heroologia,"  Faith- 
orne, White,  etc. ;  Comte  Grammont's  "Memoirs," 
"English  Prose  Writers,"  and  some  others. 

364 


Mr.  Lefferts  assures  us  that,  in  consequence  of 
the  daily  increasing  difficulty  in  obtaining  the  right 
class  of  high-grade  prints,  he  has  almost  determined 
to  abandon  the  pursuit.  This  complaint  comes  from 
every  quarter,  and  we  may  vouchsafe  to  advise  those 
engaged  in  this  agreeable  pursuit  to  make  haste. 
The  vast  increase  of  illustrators  and  the  keen  fore- 
sight of  speculators  are  rapidly  exhausting  European 
marts.  Prints  cannot  last  forever ;  there  must  neces- 
sarily be  an  end ;  the  harvest  will  eventually  pass, 
and  there  will  be  a  disconsolate  winter.  Comments 
are  useless ;  the  state  of  facts  explains  itself  The 
oldest  and  most  valuable  prints  are  becoming  ob- 
solete to  the  trade,  and  reproductions  are  worthless 
to  the  connoisseur.  A  remedy  which  has  and  is 
being  practised  to  some  extent  is  the  breaking  up 
of  early  privately  illustrated  volumes  for  the  sake 
of  the  prints  to  illustrate  a  new  love,  when  the  prints 
are  obtainable  nowhere  else;  but  there  must  also 
be  an  end  to  this  —  therefore,  be  diligent. 

"  Should  some  fair  book  engage  your  eye, 
Or  print  invite  your  glance, 
Oh,  trifle  not  with  Fate !  but  buy, 
While  yet  you  have  a  chance. 
Else,  glad  to  do  the  grievous  wrong, 

Some  wolf  in  human  guise, 
Some  bibliophile  shall  swoop  along 
And  nip  the  lovely  prize." 

—  Eugene  Field  on  the  Ives  Sale. 

365 


Mr.  William  L.  Keese,  of  Flatbush,  L.  I.,  has 
illustrated  his  own  work,  "The  Life  of  William  E. 
Burton,"  the  comedian.  This  work,  embracing  as 
it  does  a  history  of  the  Chambers  Street  Theater, 
affords  a  wide  field  for  dramatic  portraiture.  The 
rapidly  lessening  group  of  the  old-school  actors  is 
here  represented,  and  as  the  years  pass  portraits 
and  contemporaneous  prints  are  becoming  more 
and  more  difficult  to  obtain.  This  book,  which 
has  been  extended  to  two  volumes,  contains  one 
hundred  and  sixty  prints,  of  which  one  hundred 
and  ten  are  portraits  of  actors  who  have  performed 
at  the  Chambers  Street  Theater  under  the  man- 
agement of  Mr.  Burton.  There  are  ten  different 
portraits  of  Mr.  Burton,  in  and  out  of  character, 
thirty  views  representing  the  old  theater,  and 
the  various  transformations  through  which  it 
passed.  This  book  was  a  tribute  of  affection  by 
Mr.  Keese,  and  no  man  was  certainly  better  quali- 
fied for  the  task  than  he ;  his  enthusiasm  for 
dramatic  literature  and  his  intimacy  with  the  Bur- 
ton family  rendered  him  specially  fitted  for  this 
duty,  and  he  has  executed  it  in  a  noble  manner. 
It  is  a  valuable  contribution  to  dramatic  literature, 
and  a  tribute  to  the  memory  of  one  of  the  greatest 
comedians  that  the  world  has  ever  produced. 
A  new  and  much  enlarged  and  improved  edition 
of  the   "  Life  of  Burton,"  by  the  same  author,  is 

Z66 


now  before  us,  published  by  the  Dunlap  Club, 
New- York.  Mr.  Keese  has  also  privately  illus- 
trated the  "  Biography  of  his  Father,  John  Keese," 
the  book-auctioneer.  This  book  is  a  part  of  the 
history  of  old  New-York,  and  many  famous  names 
of  New-Yorkers  of  a  past  generation  figure  on  its 
pages.  Its  reminiscent  and  anecdotal  character 
makes  it  very  susceptible  of  illustration.  This  vol- 
ume Mr.  Keese  has  extended  to  three  volumes  by 
the  insertion  of  two  hundred  illustrations,  consist- 
ing of  portraits  and  views. 

Of  the  surviving  book-lovers  of  the  past  gener- 
ation, not  one  could  hear  the  name  of  John  Keese 
mentioned  without  at  once  being  reminded  of 
some  anecdote  of  him  as  auctioneer.  He  so 
far  transcended  all  the  book-auctioneers  in  book- 
culture  and  readiness  in  quoting  from  standard 
authors,  that  it  was  a  literary  treat  to  see  and  hear 
him  sell  a  library,  and  the  adroitness  of  his  wit  in 
turning  any  little  incident  to  his  advantage  was 
such  that  we  can  never  forget  him.  Witty  persons 
in  his  audiences  (and  there  are  always  witty  people 
at  auctions)  would  sometimes  take  Mr.  Keese  at  a 
disadvantage  and  say  some  clever  thing,  some- 
times a  little  personal.  We  have  never  known 
such  pertinacity  to  go  unpunished  ;  it  would  recoil 
upon  the  offender  with  interest  compounded.  Mr. 
Duyckinck  says:  ''An  auctioneer  is  bound  to  hold 

367 


his  own  against  all  interlocutors."  Mr.  Keese 
never  lost  his  superiority. 

We  have  never  known  an  auctioneer  who  even 
reminded  us  in  his  methods  of  Mr.  Keese — he  was 
unique;  his  salesroom  was  a  place  of  entertainment 
to  us, 

Besides  his  privately  illustrated  books,  Mr.  Wil- 
liam L.  Keese  has  a  working  library  of  about  three 
thousand  volumes  of  current  literature,  the  drama 
slightly  preponderating.  They  are  a  feature  of 
his  home.  "  Everybody  ought  to  own  books," 
said  Charles  F.  Richardson ;  a  house  without 
them  has  been  very  properly  termed  a  literary 
Sahara;  but  nothing  is  more  common  than  to  find 
homes,  destitute  of  books,  in  which  costly  furni- 
ture is  made  the  object  of  attraction,  and  greater 
care  bestowed  upon  it  than  upon  literary  culture. 
Give  us  a  house  furnished  with  elaborate  artistic 
furniture,  paintings,  and  books  if  we  can  ;  if  not, 
give  us  the  books  and  plain  furniture.  The  plain- 
est row  of  books  that  cloth  or  paper  ever  covered 
is  more  significant  of  refinement  than  the  most 
ornate  adornments  of  furniture  or  draperies.  It  is 
pitiable  to  know  men  who  have  become  rich  aug- 
menting, very  properly,  the  comforts  and  luxuries 
of  life  and  home  with  display,  but  who  are  doing 
absolutely  nothing  for  the  mind.  No  man  has  a 
right  to  bring  up  his  children  without  surrounding 

368 


them  with  books  and  works  of  art,  providing  he  has 
the  means  to  buy  them.  To  neglect  this  is  a  wrong 
to  his  family ;  he  cheats  them.  Children  become 
familiar  with  literature  and  acquire  a  habit  of  read- 
ing by  being  in  the  presence  of  books,  and  to  us 
who  have  grown  older  what  a  relief  it  is  to  get  into 
a  library  surrounded  by  a  fraternity  of  books,  where, 
somehow  or  other,  we  are  always  assured  of  our 
manners  and  shake  off  the  consciousness  of  those 
awkward  restraints  which  we  sometimes  feel  in 
the  drawing-room  of  a  strange  house.  Books  will 
always  furnish  subjects  for  conversation  when  other 
themes  have  failed  or  have  been  exhausted. 

When  we  find  books,  good  books,  in  the  resi- 
dences of  thoroughly  business  men  —  men  whose 
financial  empire  extends  over  the  whole  earth,  we 
know  they  love  them  and  want  them,  and  that  they 
get  a  return  commensurate  with  the  outlay — not  in 
money,  but  in  the  means  they  furnish  for  entertain- 
ment and  culture,  and  the  atmosphere  of  refinement 
which  they  engender.  We  feel  it  a  compliment  on 
entering  a  gentleman's  residence  to  have  him  at 
once  invite  us  into  his  library;  we  are  flattered  that 
he  has  a  suspicion  of  our  literary  attainments. 
There  are  at  least  three  rooms  in  the  palatial  home 
of  J.  Pierpont  Morgan,  of  New-York,  in  each  ot 
which  there  is  a  fair-sized  library  of  modern  and 
antique  literature,  incased  in  covers  decorated  in 

369 


the  highest  style  of  the  bibliopegic  art.  Mr.  Mor- 
gan has  gone  farther,  and  has  entered  the  realm  of 
the  private  illustrator  to  an  extent  and  with  a  lib- 
erality which  none  but  a  true  and  genuine  book- 
lover  would  ever  dream  of  He  has  "The  Auto- 
biography, Reminiscences,  and  Letters  of  John 
Trumbull,  Soldier  and  Artist  of  the  American 
Revolution." 

This  work  has  been  extended  from  one  octavo 
volume  to  five  imperial  folio  volumes,  by  the  inser- 
tion of  over  one  thousand  illustrations,  consisting  of 
portraits,  views,  battle-scenes,  autograph  letters, 
water-color  drawings,  original  sketches,  etc.  Col- 
onel Trumbull  was  an  aide  to  General  Washington, 
and  was  intimate  with  all  the  famous  characters  and 
events  of  the  Revolution.  He  passed  through  the 
most  trying  scenes  of  that  struggle,  and  subse- 
quently went  to  England,  where  he  was  arrested  as 
a  spy  and  thrown  into  prison.  He  was  in  Paris 
during  that  bloody  period,  "The  Reign  of  Terror," 
and  witnessed  the  execution  of  Louis  and  Marie 
Antoinette.  All  this  brought  him  in  contact  with 
the  great  characters  of  both  these  countries,  and 
adds  materially  to  the  capacity  of  the  book  for  illus- 
trating. A  great  part  of  the  value  of  the  work 
consists  in  the  purity  and  rarity  of  the  prints  which 
have  been  incorporated  in  it.  Colonel  Trumbull 
counted  among    his    friends   Charles   James  Fox, 

370 


Thomas  Jefferson,  Madame  Anne  Louise  de  Stael, 
Charles  M.  Talleyrand,  Sir  Joshua  Reynolds,  Rich- 
ard Brinsley  Sheridan,  Gilbert  Motier  de  Lafay- 
ette, Jacques  Louis  David,  with  a  great  many 
others.  There  are  autograph  letters  in  the  book 
of  General  Washington,  Guy  Carleton,  Lafay- 
ette, Jefferson,  Charles  Carroll,  Louis  XVI.,  Frank- 
lin and  Paine,  with  portraits  of  Lafayette,  Louis 
XVI.,  Robespierre,  Marat,  Madame  de  Stael, 
Condorcet,  Rembrandt,  Rubens,  Vandyck,  Pous- 
sin,  Guido,  Reynolds,  West,  Copley,  Lawrence, 
with  the  principal  artists  of  his  day.  The  extra 
title-pages  were  rubricated  for  each  volume,  and 
they  were  full-bound  in  levant  by  Bradstreet  & 
Son,  of  New- York.  Mr.  Morgan  paid  $1500  for 
this  work,  which  was  a  very  low  figure ;  $6000 
would  not  duplicate  it  at  the  present  time. 

Another  very  important  work,  historically,  in  this 
collection  is  "  Hamiltoniana,"  an  accumulation  of 
facts  and  documents  relative  to  the  death  of  Major- 
General  Alexander  Hamilton,  in  folio.  This  work 
is  made  up  of  about  an  equal  amount  of  text  and 
prints;  there  are  two  hundred  and  thirty-five  por- 
traits, views,  battle-scenes,  etc. ;  there  are  portraits 
of  Hamilton,  Burr,  President  Burr,  Lee,  Hosack, 
Dr.  Mott,  Morris,  Adams,  Clinton,  Varick,  King, 
Kent,  Steuben,  and  many  others ;  with  autograph 
letters — of  Hamilton,  two;   Burr,  three;  Washing- 

371 


ton,  Gen.  Schuyler,  Charles  C.  Pinckney,  James 
Madison,  John  Jay,  Daniel  D.  Tompkins,  Elias 
Boudinot,  Joseph  Bloomfield,  De  Witt  Clinton, 
and  many  views  from  the  old  "Columbian  Maga- 
zine." A  large  number  of  the  portraits  have  become 
excessively  rare. 

And  now  comes  "  Reminiscences  of  Old  New- 
York  for  the  Past  Sixty  Years,  with  Memoir,"  by 
John  Francis,  M.  D.,  extended  to  three  volumes  by 
the  insertion  of  over  two  hundred  portraits  of  a 
very  rare  character,  besides  many  autographs  and 
some  maps.  Also  Irving's  "Sketch  Book,"  ex- 
tended to  four  volumes  by  the  addition  of  many 
portraits  and  views,  bound  in  full  red  morocco  by 
Bradstreet. 

The  "  Memoirs  of  the  Colman  Family,"  extended 
from  one  to  five  volumes,  contains  a  great  number 
of  portraits  in  and  out  of  character ;  there  are  many 
ofGarrick,  also  portraits  of  G.  B.  Doddington,  Sir 
Charles  Wager,  John  Hawksworth,  Mrs.  Montague, 
Mrs.  Cowley,  Mr.  Macklin,  William  Congreve, 
Joshua  Reynolds,  Dr.  Solander,  William  Parsons, 
John  Fletcher,  Richard  Hurd,  Rev.  Charles  Burney. 
Bound  by  Zaehnsdorf  in  red  crushed  levant. 

"A  History  and  Survey  of  London  and  Its 
Environs,"  by  B.  Lambert,  1806,  in  four  vol- 
umes, extended  to  sixteen  by  the  insertion  of  avast 
quantity  of  interesting  materials  concerning  the 

372 


city  of  London;  there  are  hundreds  of  old  contem- 
poraneous prints,  portraits,  and  views,  with  over  a 
hundred  pen-and-ink  sketches  and  a  great  many- 
articles  from  old  magazines,  inserted;  also  manu- 
script pages.  This  work  was  illustrated  and  bound 
in  London. 

"  In  splendour  with  those  famous  cities  old, 

Whose  power  it  has  surpassed,  it  now  might  vie. 
Through  many  a  bridge  the  wealthy  river  rolled, 

Aspiring  columns  reared  their  heads  on  high, 
Triumphant  fanes  graced  every  road,  and  gave 
Due  guerdon  to  the  memory  of  the  brave." 

— Southey. 

Mr.  Morgan  has  a  delightful  set  of  "  Dramatic 
Memoirs,"  consisting  of  twenty-four  volumes,  all 
extended  to  quarto,  and  uniformly  bound  by 
Southeran  in  uncrushed  levant.  The  following  is  a 
list  of  these  works.  First,  "Dramatic  Memoirs  of 
John  Bannister,"  by  John  Adolphus,  in  two  volumes 
extended  to  four  by  the  insertion  of  three  hundred 
and  sixteen  portraits,  in  and  out  of  character,  and 
some  views  and  autographs.  Second,  "  Dramatic 
Memoirs  of  John  P.  Kemble,"  by  James  Boaden, 
1825,  in  two  volumes,  including  a  "History  of  the 
Staee  from  the  Time  of  Garrick  to  the  Present," 
extended  to  four,  illustrated  by  three  hundred  and 
fifty  portraits,  autographs,  and  original  drawings. 
Third,    "  Dramatic    Memoirs  of  Joseph  Shepherd 


Munden,"  by  his  son,  one  volume  extended  to  three 
by  the  insertion  of  five  hundred  portraits,  auto- 
graph letters,  playbills,  and  other  interesting 
material.  Fourth,  "  Dramatic  Memoirs  of  Colley 
Cibber,"  by  himself,  one  volume  extended  to  three 
by  the  insertion  of  two  hundred  and  twenty-four 
portraits,  views,  scenes,  and  autographs.  Fifth, 
"Memoirs  of  David  Garrick,"  by  Tom  Davis,  two 
volumes  extended  to  four  by  the  insertion  of 
four  hundred  and  thirty-two  prints  and  drawings, 
mostly  portraits  and  autographs.  There  are  many 
interesting  things  said  of  Garrick,  many  of  which  in 
a  less  degree  perhaps  were  common  to  the  class  — 
actors;  but,  according  to  Charles  Dibdin,  in  one 
trait,  purely  professional,  he  excelled  all  the  men 
of  his  time.  "  On  or  off  the  stage,"  says  Dibdin, 
"  alone  or  in  company,  in  whatever  study,  occupa- 
tion, or  pursuit,  employed  in  any  manner,  he  was 
always  an  actor,  and  nothing  but  an  actor,"  Sixth, 
"Dramatic  Works  of  Joseph  Grimaldi,"  by  "  Boz." 
This  work  is  illustrated  by  one  hundred  and  eighty- 
four  portraits,  autograph  letters,  playbills,  and 
manuscript  plays.  Seventh,  "Dramatic  Works  of 
Robert  William  Elliston  (original  edition,  illus- 
trated by  Cruikshank),  by  George  Raymond, 
1846,  originally  in  one  volume,  now  extended  to 
four  by  the  insertion  of  three  hundred  and  twenty- 
three    portraits,   autograph   letters,   etc.      No   two 

374 


men  of  the  same  profession  differed  more,  probably, 
than  ElHston  and  Garrick.  Off  the  stage  Elliston 
was  an  entirely  distinct  person ;  he  left  his  trade 
behind  the  scenes,  and  outside  he  was  the  most 
companionable  of  men.  These  men,  however,  can 
be  compared  only  by  their  strong  contrasts. 

"Histoire  de  Gil  Bias,"  par  Le  Sage,  1838,  ex- 
tended to  five  thick  volumes  by  the  insertion  of 
sixteen  hundred  illustrations,  bound  in  brown  half 
crushed  levant  by  M.  Clsesseus,  Paris.  "  Post- 
humous Papers  of  the  Pickwick  Club "  (Charles 
Dickens),  two  volumes  extended  to  four.  These 
are  beautiful  volumes;  they  are  full-bound  in  dark- 
red  crushed  levant  by  Tout,  in  imitation  of  Roger 
Payne. 

Michael  Brygin's  "  Biographical  and  Critical 
Dictionary  of  Painters  and  Engravers,"  18 16,  two 
volumes  extended  to  eicjhteen  with  an  almost 
boundless  number  of  old  contemporaneous  prints, 
including  some  of  the  first  work  of  the  early  en- 
gravers. There  are  over  twenty-two  hundred 
portraits,  besides  hundreds  of  specimens  from  the 
works  of  eminent  old  artists.  Any  attempt  at  an 
analysis  of  the  contents  of  these  wonderful  and 
unique  volumes,  or  more  properly  storehouses,  of 
ancient,  medieval,  and  modern  art  must  be  a  failure. 
A  vast  number  of  the  prints  for  this  work  were 
selected  in  the  infancy  of  the  "  privately  illustrated 

375 


mania,"  when  they  were  more  plentiful  and  of  a 
better  quality.  A  very  large  percentage  of  them 
could  not  be  obtained  at  all  at  the  present  day. 
Here  is  also  "  The  Life  and  Works  of  William 
Shakspeare,"  by  Charles  Knight,  1838,  eight  vol- 
umes extended  to  seventeen  by  the  insertion  of  over 
eipfhteen  hundred  illustrations,  and  bound  in  the 
best  style  of  Tout. 

"Memoirs  du  Due  de  Saint  Simon"  is  a  work 
upon  which  a  vast  amount  of  labor  and  money  has 
been  expended  to  bring  it  to  the  perfection  of  this 
set,  which  has  been  extended  to  twenty  volumes  by 
inserting  one  thousand  and  twenty-seven  portraits, 
one  hundred  and  forty-one  views,  and  thirty-five 
original  drawings.  Next  to  the  set  sold  with  the 
Perkins  collection,  we  believe  this  the  finest  in 
existence. 

The  foregoing  is  by  no  means  an  exhaustive 
catalogue  of  the  privately  illustrated  books  in  Mr. 
Morgan's  library,  nor  are  illustrated  books  the 
dominant  feature  of  his  collection ;  it  is  largely 
composed  of  missals,  manuscripts,  rare  works,  and 
first  editions;  in  some  of  these  specialties  his  library 
is  without  a  rival.  Medieval  illuminated  volumes 
are  gradually  reaching  a  point  in  the  United  States 
which  may  be  designated  priceless,  and  a  library 
containing  many  of  them  is  looked  upon  with  envy 
by  the  antiquarian  bibliophile. 

376 


Mr.  T.  V.  Holbrow  of  New-York  has  been  a 
collector  of  books  since  boyhood.  His  library, 
which  has  undergone  many  reformations,  now  con- 
sists of  about  five  thousand  volumes  of  general  lit- 
erature, consisting  mainly  in  large-paper,  privately 
printed,  first  editions,  and  best  editions;  also  extra- 
illustrated  books.  He  has  collected  extensively 
on  the  drama,  Shakspeariana,  and  early  Bibles  and 
Liturgies,  Scotch  Poetry,  Witchcraft,  Junius,  the 
original  edition  of  the  Rhemish  New  Testament, 
Mormon  Bibles,  etc.  Mr.  Holbrow  has  about  one 
hundred  papers  relating  to  the  erratic  career  of 
George  Jones  ^  (Count  Joannes),  also  many  letters 
to  him  from  his  wife,  sister,  nephew,  etc. ;  also  a 
miniature  of  him  at  the  age  of  eighteen,  painted 
by  the  artist-actor  H.  J.  Finn ;  letter  from  Rev. 
Francis  L.  Hawks  returning  the  Count's  "His- 
tory of  Ancient  America,"^  with  criticisms  on  the 
same;  letter  from  Lord  Russell  to  the  Count;  letter 

1  "  The  connection  of  George  Jones  with  the  American  stage  as  a  profes- 
sional actor  dates  back  to  the  early  days  of  the  Bowery  Theater.  He  made 
his  American  debiit  there  as  the  Prince  of  Wales  in  "  Henry  IV.,"  on  the  fourth 
of  March,  1831.  He  played  Hamlet  at  the  National  Theater  in  December, 
1836,  and  he  repeated  the  part  (before  he  became  too  mad  to  portray  even  the 
Mad  Prince)  many  times,  not  only  in  this  country  but  in  England."  {Laitretice 
Hiitton.)  He  was  afterward  admitted  to  practise  law  in  the  courts  of  this 
State,  but  he  had  fewer  qualifications  for  this  profession  than  for  that  of  the 
drama.     His  disease  was  a  harmless  form  of  dementia. 

2  The  History  of  Ancient  America,  Anterior  to  the  Time  of  Columbus. 
Proving  the  Identity  of  the  Aborigines  with  the  Tyrians  and  Israelites,  and 
the  Introduction  of  Christianity  into  the  Western  Hemisphere  by  the  Apostle 
St.  Thomas.  By  George  Jones,  M.  R.  S.  J.,  F.  S.  \.—  T/ie  Tyrian  ^ra, 
London, 1843. 

377 


from  J.  B.  Thayer  in  relation  to  the  Count's  title, 
December  i8,  1862;  letter  from  the  Count,  dated 
London,  September  6,  1843,  to  Alexander  J.  Davis 
(architect),  inclosing  a  prospectus  of  his  original 
"History  of  Ancient  America";  letter  from  Mr. 
and  Mrs.  Barrow  declining  to  act  at  the  Count's 
benefit,  i860;  letter  from  Moses  Kimball  declin- 
ing the  use  of  his  museum  for  the  Count;  also  a 
manuscript  program  for  the  occasion  of  the  Count's 
benefit;  authority  from  hiswife,  Mary  Eliza  Joannes, 
to  sell  the  painting,  "Duke  and  Duchess  reading 
Don  Quixote,"  by  C.  R.  Leslie,  January  17,  1861, 
November  20,  1861,  September  18,  1863;  letters 
from  his  sister,  Abbie  Maria  Jones,  giving  account 
of  the  death  of  her  father,  July  15,  1861,  and  others; 
letter  from  Edwin  Forrest  inclosing  slips  from  Lon- 
don papers  about  the  appearance  of  Miss  Avonia 
Jones,  upon  her  arrival  from  Australia,  1861  ;  also 
letters  from  E.  L.  Davenport,  Fred  Conway,  and 
from  various  members  of  his  family. 

Francis's  "  Old  New-York"  is  found  in  this  col- 
lection extended  from  one  to  four  volumes  with 
about  two  hundred  illustrations ;  the  "  Life  of 
William  C.  Bryant,"  by  Parke  Godwin,  from  two 
to  five  volumes,  about  two  hundred  illustrations ; 
H.  Adolphe  Taine's  "English  Literature,"  four  vol- 
umes extended  to  eight,  several  hundred  illustra- 
tions;  Miss  Mary  L.   Booth's   "History  of  New- 

378 


York,"  two  volumes  extended  to  four;  Goodwin's 
''  Recollections,  Musical  and  Theatrical,"  from  one 
to  two  volumes;  "Curiosities  of  the  Stage," 
from  one  to  three  volumes;  W.  S.  Baker's  "En- 
gravers of  America,"  from  one  volume  to  five; 
"The  Bradford  Croakers"  (club  copy),  from  one 
to  two  volumes;  "Life  of  General  Henry  Knox," 
from  one  to  two  volumes;  "Life  of  Joel  Barlow," 
from  one  to  two  volumes;  also  Alger's  "Life 
of  Forrest";  Gabriel  Harrison's  "Life  of  J.  H. 
Payne,"  and  "The  Bradford  Croakers." 

Josiah  Ouincy's  "  Municipal  History  of  Bos- 
ton" ;  Hobbs's  "Picture  Collectors'  Manual,"  two 
volumes;  Walpole's  "Anecdotes  of  Painting  in 
England";  Valentine's  "History  of  New-York"; 
"  Memoir  of  Commodore  Barney,"  by  Mary 
Barney ;  "  Gulian  C.  Verplanck,  Proceedings  of 
the  Century  Association  in  Honor  of" ;  Jenkin's 
"Life  of  Silas  Wright";  "The  Annals  of  New- 
town," by  Riker;  Eaton's  "Life  of  Andrew  Jack- 
son "  ;  "  The  Book  of  Costumes,"  etc.,  by  a  lady  of 
rank,  from  one  to  two  volumes  ;  "Washington  and 
His  Generals,"  by  Headley,  from  two  to  four  vol- 
umes; "Relics  of  Genius,"  by  Grimsted;  "A  Visit 
to  the  Graves  of  Poets,  Painters,  and  Players,"  from 
one  to  two  volumes;  "Dramatic  Table-Talk,"  by 
R.  Ryan,  three  volumes  ;  "  Origin  and  History  of 
Playing  Cards,"  from  one  to  two  volumes  ;  Sparks's 

379 


"Life  of  Gouverneur  Morris,"  three  volumes; 
"Private  Libraries  of  New-York,"  by  Wynne,  one 
to  two  volumes;  "Franklin  in  Paris,"  by  Hale, 
two  volumes  to  four;  "Memoir  and  Correspon- 
dence of  Jefferson,"  by  Randolph,  four  volumes; 
"The  Washington  Centenary,"  celebrated  in  New- 
York,  April  29,  30,  May  i,  1889,  extended  to  two 
thick  volumes;  "Life  of  Stothard,"  by  Mrs.  Bray; 
"Vindication  of  the  Captors  of  Major  Andre," 
Whatman  paper;  "History  of  West  Point,"  by 
Boynton,  large  paper;  "Memoir  of  De  Witt 
Clinton,"  by  Hosack ;  John  Trumbull's  "  McFin- 
gal,"  with  notes  by  Lossing,  large  paper;  besides 
many  others  not  here  enumerated.  The  materials 
used  in  this  vast  collection  of  illustrated  books 
are  generally  of  the  first  order,  and  the  number 
of  prints,  at  a  moderate  estimate,  cannot  be  less 
than  eighteen  thousand.  In  quality  and  quantity 
it  ranks  among  the  famous  collections  of  New- 
York. 

The  collection  of  Charles  B.  Hall,  of  New- York, 
is  the  most  remarkable  we  have  seen.  It  relates 
entirely  to  our  civil  war,  and  embraces  material 
of  both  sections.  "  Outbreak  of  the  Rebellion,"  by 
J.  G.  Nicolay,  two  hundred  and  twenty-eight  illus- 
trations, extended  to  two  volumes ;  "  Fort  Henry  to 
Corinth,"  by  M.  F.  Force,  one  hundred  and  sixty- 
nine  illustrations,  extended  to  two  volumes  ;   "  The 

380 


Peninsula,"  by  A.  S.  Webb,  one  hundred  and 
ninety  illustrations,  extended  to  two  volumes; 
"Army  under  General  Pope,"  one  hundred  and 
sixty-four  illustrations,  extended  to  two  volumes  ; 
"Antietam  and  Fredericksburg,"  by  F.  W.  Pal- 
frey, one  hundred  and  ninety-nine  illustrations,  ex- 
tended to  two  volumes;  "Chancellorsville  and 
Gettysburg,"  by  A.  Doubleday,  two  hundred  and 
ninety-eight  illustrations,  extended  to  three  vol- 
umes; "Army  of  the  Cumberland,"  by  H.  M.  Cist, 
two  hundred  and  eight  illustrations,  extended  to 
two  volumes;  "The  Shenandoah  Valley,"  Geo.  E. 
Paul,  one  hundred  and  eighty-five  illustrations,  ex- 
tended to  two  volumes;  "The  Blockade  and  the 
Cruisers,"  by  J.  R.  Soley,  one  hundred  and  thirty- 
six  illustrations,  extended  to  two  volumes  ;  "  Grant 
Memoirs,"  by  U.  S.  Grant,  ten  hundred  and  thirty- 
nine'  illustrations,  one  hundred  and  twenty-eight 
different  portraits  of  Grant,  extended  to  five  vol- 
umes; "Life  of  Abraham  Lincoln,"  by  Arnold, 
ten  hundred  and  ninety-two  illustrations;  "Auto- 
graph Letter  of  Lincoln,"  extended  to  five  volumes  ; 
"  Campaigns  of  the  Army  of  the  Potomac,"  Swin- 
ton,  seven  hundred  and  sixty-two  illustrations,  ex- 
tended to  four  volumes  ;  "  Battle  of  Gettysburg," 
Comte  de  Paris,  four  hundred  and  seventy-three 
illustrations,  extended  to  two  volumes  ;  Sherman's 
"  Memoirs "  (W.  T.   Sherman),  five  hundred  and 

381 


fourteen  Illustrations,  extended  to  four  volumes ; 
Sheridan's  "Memoirs" (Phil  Sheridan),  two  hundred 
and  forty-nine  illustrations,  extended  to  two  vol- 
umes; General  Lee's  "Memoirs,"  A.  L.  Long,  five 
hundred  and  seventy-nine  illustrations,  extended 
to  two  volumes ;  General  McClellan's  "Memoirs" 
(George  B.  McClellan),  four  hundred  and  thirty-two 
illustrations,  extended  to  two  volumes.  Besides  the 
above,  Mr.  Hall  has  about  twenty  other  illustrated 
volumes  on  the  civil  war;  a  "Roster  of  General 
Officers  of  the  United  States  Army,"  to  which  he 
has  added  about  seven  thousand  portraits;  and  the 
"Roster  of  the  Confederate  Army  "  with  about  seven 
hundred  portraits.  He  has  twenty  thousand  por- 
traits of  men  who  were  engaged  in  the  civil  war ; 
and  this  does  not  embrace  his  entire  collection, 
which  consists  in  engravings,  some  India  proof, 
woodcuts,  drawings,  artotypes,  maps,  and  many 
autograph  letters. 

All  the  portraits  were  produced  by  Mr.  Hall 
for  his  diversion.  One  would  suppose  that  such  an 
enormous  task  would  interfere  with  his  daily  pur- 
suits, but  such  does  not  appear  to  have  been  the 
case. 

"The  work  is  performed  chiefly  at  night  between 
eiofht  and  one  o'clock.  It  is  then  that  rare  and  im- 
perfect  pictures,  portraits,  and  views,  many  times  in 
the  last  stages  of  decay,  are  traced  upon  gelatine, 

382 


etched  on  copper  or  steel,  and  made  ready  for  the 
printer  —  a  process  requiring  three  or  four  days. 
Copies  of  these  frequently  find  their  way  into  the 
magazines  and  illustrated  newspapers,  to  the  sur- 
prise and  gratification  of  friends  who  had  believed 
that  no  likeness  existed." 

This  is  a  remarkable  labor  of  Mr.  Hall,  and  it 
is  owing  to  his  painstaking  that  the  public  are 
enabled  to  look  upon  men  and  reconnoiter  scenes 
that  are  illustrative  of  the  nation's  history,  and 
which  no  one,  save  Mr.  Hall,  can  at  this  period 
furnish. 

A  greater  contrast  does  not  probably  exist  than 
that  between  the  foregoing  and  the  collection  of 
books  and  works  of  art  belonging  to  Mr.  Theodore 
Irwin  of  Oswego,  which  we  are  about  to  describe. 
No  private  library  in  the  State  of  New-York  con- 
tains a  greater  number  of  rarities  in  early  printed 
books,  classics,  first  editions,  Caxtons,  Wynken 
De  Wordes,  De  Brys,  Bibles  (Gutenberg  and 
Eliot),  and  manuscripts  than  this  of  Mr.  Irwin. 
In  fact  it  seems  almost  endless  in  works  of  the 
highest  merit  and  in  the  most  sumptuous  bindings, 
over  which  this  monograph  has  no  jurisdiction. 
And  then  his  marvelous  collection  of  prints  and 
etchings  of  the  old  masters  and  engravers.  In  his 
collection  are  two  hundred  and  seventy  original 
etchings  by  Rembrandt,  nearly  all  of  Albert  Diirer's 

383 


engravings,  and  hundreds  of  examples  of  the  early 
engravers.  In  the  contemplation  of  this  princely 
collection  of  art  and  literature  we  cannot  escape 
the  beautiful  and  appropriate  words  of  Southey  — 

"My  days  among  the  dead  are  passed, 

Around  me  I  behold, 
Where'er  these  casual  eyes  are  cast. 

The  mighty  minds  of  old ; 
My  never-failing  friends  are  they. 
With  whom  I  converse  day  by  day. 

"  With  them  I  take  delight  in  weal. 
And  seek  relief  in  woe  ; 
And  while  I  understand  and  feel 

How  much  to  them  I  owe. 
My  cheeks  have  often  been  bedew'd 
With  tears  of  thoughtful  gratitude. 

"  My  thoughts  are  with  the  dead,  with  them 

I  live  in  long  past  years. 
Their  virtues  love,  their  faults  condemn. 

Partake  their  hopes  and  fears. 
And  from  their  lessons  seek  and  find 
Instruction  with  a  humble  mind." 

Among  the  privately  illustrated  books  of  Mr. 
Irwin  are:  "The  Correspondence  of  John  Adams 
on  Impressment,  1809,"  with  thirty-three  portraits 
and  prints  added,  bound  by  Pratt  of  London ; 
"Odes  of  Anacreon,"  Thomas  Moore,  1800,  with 
forty-nine    prints    from    plates   of  Bartolozzi,   and 

384 


autograph  letter  of  Thomas  Moore;  also  "An- 
dreana,"  by  Horace  Smith  of  Philadelphia,  twenty 
additional  portraits  and  other  matter  inserted, 
bound  by  Matthews;  Bible,  thirteen  volumes, 
quarto,  two  thousand  old,  rare,  and  curious  prints, 
extra  titles,  etc.,  bound  by  Clarke  and  Bedford. 
Another  Bible,  sixty  volumes,  folio.  This  work 
contained  thirty  thousand  engravings  when  Mr. 
Irwin  purchased  it  (it  was  the  James  Gibbs  copy 
of  London) ;  he  broke  it  up,  eliminated  one  half 
the  prints,  and  added  to  it,  and  it  now  contains 
eighteen  thousand  illustrations  in  engravings,  draw- 
ings in  oil  and  water-color,  etc.  It  is  solidly  bound 
by  Hammond,  London. 

"The  Works  of  Samuel  Butler,"  many  extra 
prints  in  proof  condition,  two  volumes.  ''Dante 
Allighieri,"  by  Henry  W.  Longfellow,  a  unique 
copy,^  containing,  among  other  material,  eighty- 
seven  woodcuts  from  Velertello's  "Dante,"  ninety- 
five  prints  of  Machiavelli,  a  set  of  Flaxman's  prints, 
Blake's  folding  prints,  Dore's  illustrations,  India 
proof,  and  a  set  of  AdamoUi's  designs  ;  bound  by 
Bedford,  London.  "Du  Comte  de  Grammont," 
only  five  copies  printed,  extended  to  three  volumes; 
four  hundred  and  forty-one  portraits  and  views 
added,  sixty-four  portraits  by  Scriven ;  also  an- 
other copy  of  the  same  work.     Knight's  "  Pictorial 

1  From  the  E.  G.  Asay  collection. 


History  of  England,"  Craik  and  Macfarlan,  octavo. 
"Lyon's   Environs  of  London,"   Cadell,  four  vol- 
umes, four  hundred  and  thirty-four  portraits,  and 
four  hundred  and  eighty-eight  drawings  expressly 
for  this  copy;  bound  by  Hering.      "  Napoleon  Bo- 
naparte: History  of  the  Captivity  at  Saint  Helena," 
four  volumes,  one   hundred  and   eighty-four  por- 
traits,   mostly    proof,     on    India   paper;    also    the 
National    Gallery  of   ninety-nine  portraits;    also 
Plutarch's  "  Lives,"  five  volumes,  now  extended  to 
eighteen  by  the  insertion  of  over  twenty-five  hun- 
dred   illustrations.      "  Life  of   Thomas  Stothard," 
by  Mrs.  Bray;  one  volume  extended  to  three,  with 
six  hundred  and  nine  portraits  and  views  added; 
bound  in  brown  crushed  levant.   H.  Adolphe  Taine's 
"  Enoflish    Literature,"  two   volumes   extended   to 
four  by   the  insertion  of  over   two  hundred  por- 
traits.    And  now  comes  Major's  "Walton's  Angler," 
1 8 13,   containing  one  hundred    and  eighty-seven 
illustrations,  fifty-seven  finished    drawings ;  three 
volumes,  bound  by  Hayday.    Also  another  copy  of 
the  same,   1808.     Sparks's  "Life  of  Washington," 
extended  to  three  volumes  by  the  insertion  of  many 
prints,  forty-seven  portraits  of  Washington.     Also 
"Washington's  Farewell  Address,"  with  prints  and 
autograph  letter  of  James  Lenox,  bound  by  Pratt, 
London;   Shakspeare's  plays,  "Heptameron,"  and 
a  great  many  others  not  enumerated  here. 

386 


Such  are  among  the  great  luxuries  of  Hfe — 
luxuries,  did  we  say? — we  drop  that  illusion;  we 
mean  the  great  necessaries  of  life.  Voltaire  says: 
'■' Le  superfiti  cJiose  tres  necessairer  De  Luxe,  in 
his  dictionary,  begins  in  a  country  where  every- 
body went  barefoot,  and  the  first  pair  of  shoes  was 
condemned  as  a  luxurious  feminality.  Luxe  is 
attached  to  every  station  in  life,  and  is  not  exclu- 
sively of  that  condition  which  is  just  beyond  our 
ability  to  acquire,  or  which  we  have  not  the 
capacity  to  retain.  Fine  books  are  necessaries 
to  the  man  who  has  attained  to  wealth  and  leisure. 
They  are  luxuries  which  beguile  the  exempted 
hours  of  the  business  man  ;  they  are  superflui- 
ties to  the  laboring  man.  It  is  not  many  years 
ago  that  no  man  might  expect  to  obtain  the  suf- 
frages of  his  county  who  permitted  his  table  to  be 
served  with  the  luxury  of  a  three-pronged  fork. 
Many  of  our  readers  will  be  surprised  to  learn  that 
some  of  the  rarest  illustrated  books  in  the  country 
are  to  be  found  in  Nebraska.  The  collection  of 
W.  H.  Wyman,  of  Omaha,  occupies  that  enviable 
position  ;  there  are  over  one  hundred  illustrated 
volumes  in  Mr.  Wyman's  library,  containing  over 
twelve  thousand  extra  illustrations.  Of  the  works 
of  Shakspeare  he  has  the  Routledge  edition,  1881, 
edited  by  Staunton  and  illustrated  by  Gilbert.  This 
work  he  has  extended  to  forty  volumes  by  the  inser- 

387 


tion  of  twenty-six  hundred  and  eighty-one  prints, 
with  specially  printed  title-pages  to  each  volume. 
Volume  I.  is  "  Life,"  with  one  hundred  and  ten 
illustrations  pertaining  to  the  life  only.  Volume 
II.  "Life,"  with  one  hundred  and  thirty-five  por- 
traits only.  Volumes  III.  to  XXXIX.  are  the  thirty- 
seven  plays,  one  to  each  volume,  with  twenty-three 
hundred  and  sixty-five  prints.  Volume  XL.  is  the 
poems,  containing  seventy-one  extra  illustrations. 
Mr.  Wyman  says :  "  I  was  many  years  collecting 
these  illustrations.  They  were  sent  with  the  ori- 
ginal volumes  to  W.  W.  Sabin,  London,  in  January, 
1882.  He  had  the  work  in  hand  a  year  and  a  half, 
collecting  additional  illustrations  and  improving 
poor  ones,  inlaying,  etc.  Some  of  the  illustrations 
are  very  fine.  They  comprise  a  few  water-colors 
prepared  especially  for  the  work.  It  was  bound  in 
London  by  Bedford,  and  returned  to  me  complete 
in  1883."  Also  a  "Biography  of  William  Shak- 
speare,"by  Charles  Knight.  New- York,  Virtue  and 
Yorston.  This  is  the  largest  edition  ;  the  pages  are 
thirteen  by  nine  inches.  It  is  illustrated  by  one 
hundred  and  thirty  inserted  prints  of  portraits  and 
scenes  illustrative  of  Shakspeare's  life.  Amongst 
the  portraits  is  an  undoubted  impression  of  the 
Droeshout  copperplate,  first  attached  to  the  folio  of 
1623,  it  bearing  that  date.  Bound  in  full  brown  mo- 
rocco by  Karrmann  of  Cincinnati.  James  Boaden's 

388 


"Shakspeare  Portraits,"  London,  1824;  extra-illus- 
trated by  sixty-one  portraits,  two  being  ingeniously 
inlaid  in  the  inner  covers  by  Karrmann.  Also 
W.  H.  Wyman's  "Bacon-Shakspeare  Bibliog- 
raphy," with  subsequent  papers,  extra-illustrated 
by  portraits,  mostly  photographs,  of  sixty  of  the 
prominent  writers  on  the  subject.  "  Dictionary  of 
American  Biography,"  by  Francis  S.  Drake,  Boston, 
1881  ;  one  volume  extended  to  twenty  volumes  by 
the  insertion  of  thirty-one  hundred  and  sixteen  por- 
traits. These  are  of  all  classes  —  steel,  wood,  and  an 
occasional  photograph  —  and  include  sixteen  hun- 
dred and  fourteen  different  persons  mentioned  in 
the  work:  of  Washington  there  are  thirty  ;  Lincoln, 
thirty-one;  there  are  some  drawings  in  India  ink 
made  expressly  for  the  work  ;  bound  by  Karrmann, 
Cincinnati.  "Library  Notes,"  by  A.  P.  Russell, 
Boston,  1881;  one  volume  extended  to  three  ;  illus- 
trated by  portrait  of  the  author  and  three  hundred 
and  fifty-two  portraits  of  celebrated  authors  and 
others  mentioned  in  the  work:  an  interesting  and 
excellently  illustrated  work. 

"The  Stage,"  by  James  E.  Murdock,  1880;  one 
volume  extended  to  two  by  the  insertion  of  one 
hundred  and  twenty-nine  prints,  many  old  and  rare 
portraits  of  actors  in  character.  "  Life  of  Horace 
Greeley,"  by  L.  D.  Ingersoll,  1873;  one  volume 
extended  to  three  by  the  insertion  of  three  hun- 

389 


dred  and  eighty  illustrations  of  his  immediate 
contemporaries  and  political  associates,  a  pecu- 
liar autograph  letter,  and  about  twenty  different 
portraits  of  Greeley.  "  History  of  the  Flag  of  the 
United  States  of  America,"  by  Admiral  George  H. 
Preble,  1880;  one  volume  extended  to  three,  with 
two  hundred  and  fifty-nine  illustrations,  mainly  of 
persons  prominently  connected  with  the  military 
history  of  the  United  States.  The  above,  although 
far  from  being  exhaustive,  constitutes  the  most 
attractive  and  valuable  portion  of  this  somewhat 
surprising  collection  from  the  far  West. 

But,  while  fair  Omaha  has  furnished  such  glorious 
examples  of  privately  illustrated  books  in  the  col- 
lection of  Mr.  Wyman,  it  is  to  the  city  of  Cleveland 
that  we  must  accord  the  highest  honor  in  esthetic 
book-illustrating — not  in  the  "  divine  crookedness" 
and  "holy  awkwardness"  of  Preraphaelism,  nor 
in  the  schools  of  the  Rossetti,  Woolner,  Morris, 
Swinburne,  and  O'Shaughnessy,  but  in  the  genuine, 
Post-tertiary,  "  cosmic  soul"  of  Oscar  Wilde.  He 
who  visited  the  tomb  of  Ajax  on  the  Hellespont, 
performed  esthetic  antics  upon  the  plains  of  the 
Troas,  forded  the  Simois,  and  trod  the  dry  bed  of 
the  Scamander;  he  whose  initials  in  Scaldic  char- 
acters are  engraven  upon  the  gate-post  of  the 
ruined   Dipylum  at   Athens,  on   the    road    to    the 

390 


Academy  and  Eleusis  —  has  given  us  an  idyl; 
'*  A  New  Helen,"  and  a  Cleveland  disciple  of  the 
"flawless  essence"  has  illustrated  the  poem. 

But  it  is  not  "a  new  Helen,"    it  is  an  incarna- 
tion, an  avatar  of  the  old  one.     The  poem  begins: 

"  Where  hast  thou  been  since  round  the  walls  of  Troy 
The  Sons  of  God  fought  in  that  great  emprise, 
Why  didst  thou  walk  the  common  earth  again  ?  " 


This  is  the  Helen  of  the  "  Iliad,"  she  whose 
beauty  and  praises  were  more  anciently  sung  in 
the  "  Ramayana,"  the  adventures  of  Rama  and 
Sita,  the  great  epic  of  the  Hindus,  the  earlier  form 
of  which  was  the  "  Ramatali  "  and  "Sitadewi,"  or 
the  "  War  of  Woe,"  in  the  classical  Kawi  of  the  still 
farther  East,  all  of  which  was  again  rechanted  by 
the  warrior  bands  of  Achilles  upon  the  plains  of 
Ilium.  A  modern  rendition  is  now  before  us,  pri- 
vately illustrated  by  aquarelles  from  the  hand  of 
a  disciple  of  Oscar  I.,  of  "esthetic  sweetness." 

We  have  taken  much  pleasure  from  this  volume, 
entitled  "The  New  Helen"  (by  Oscar  Wilde).  It 
is  in  the  library  of  Edward  Weisgerber,  of  Euclid 
Avenue,  Cleveland,  Ohio ;  the  illustrations  and 
text  were  executed  by  him.  There  are  ten  stanzas 
often  lines  each  in  the  poem.  It  is  hand-printed 
on  Whatman    paper    throughout.     The   page   re- 

391 


sembles  very  much  the  text  of  **  Recueil  of  the 
Hystoryes  of  Troye,"  by  Caxton,  being  the  first 
book  ever  printed  in  the  Enghsh  language.  There 
is  one  stanza  only  on  each  sheet,  with  large  illu- 
minated initial  letters  in  colors  and  gold,  making 
ten  large  and  ninety  small  initials,  besides  eight 
full-page  initials,  illuminated.  There  are  sixteen 
full-page  illustrations  in  the  book,  with  many  small 
head  and  tail  pieces.  All  the  illustrations  are  in 
water-color,  are  well  designed  and  well  executed, 
are  entirely  original,  and  it  is  an  absolutely  unique 
edition.  The  style  is  said  to  resemble  that  of  the 
earlier  productions  of  Howard  Pyle.  The  sur- 
roundings, borders,  initials,  and  interiors  are  all  in 
a  highly  decorative  style. 

The  title-page  to  part  first  is  in  yellow  and  blue, 
and  the  title-picture  is  inscribed  'TkiOQ,  and  repre- 
sents Helen  outside  the  walls  of  Troy  gathering 
asphodel.  The  title  of  part  two,  a  composition,  is 
suggestive  of  primitive  times.  The  sketches  are 
all  executed  to  illustrate  lines  of  the  poem,  which 
are  carried  out  in  recital,  the  illustrations  being  in 
strict  accordance  with  it,  at  the  same  time  with  the 
most  esthetic  grace  and  meritorious  detail.  Any 
effort  to  describe  or  convey  a  proper  conception  of 
the  illuminated  letters,  the  harmony  of  color,  pose 
of  figures,  background,  or  decorative  symbolism 
must  fail.     The  book  itself,  en  bloc,  does  not  strictly 

392 


belong  to  the  class  we  have  attempted  to  describe 
in  this  volume,  but  it  nevertheless  is  an  effort  to 
illustrate  the  text  of  a  poem,  and  it  has  been  more 
artistically  and  more  faithfully  accomplished  here 
than  is  possible  to  do  with  ready-made  art.  We 
commend  the  book,  and  enroll  it  among  the  gods 
of  our  Pantheon. 

Mr.  Thomas  Walton,  of  Cleveland,  Ohio,  has  a 
library  of  general  literature  and  history  containing 
from  eight  to  ten  thousand  volumes.  His  sister. 
Miss  L.  E.  Walton,  has  an  interesting  illustrated 
work ;  it  is  a  "  Photographic  History  of  the  Re- 
naissance of  Mediaeval  Art,"  in  five  folio  volumes  to 
the  set.  The  first  volume  of  this  unique  work  com- 
prises the  Florentine  School,  and  contains  photo- 
graph portraits  of  twenty-six  of  the  early  masters 
arranged  in  chronological  order,  and  three  hun- 
dred and  fifty  photographs  taken  from  the  original 
paintings,  also  in  chronological  order.  These  prints 
were  obtained  at  the  places  where  the  paintings 
now  are,  and  they  show  all  the  evidences  of  the 
effects  of  time  upon  the  originals.  The  origin,  his- 
tory, and  present  disposition  of  every  painting 
shown  in  these  five  volumes  are  given  in  the  text, 
which  is  hand-printed. 

The  second  volume  contains  pictures  of  the 
Venetian  School,  which  consists  of  about  two  hun- 
dred photographs  of  paintings  and  frescos  of  this 
''  393 


school,  with  many  portraits  of  painters  taken  from 
the  original  paintings. 

The  third  volume  illustrates  the  Siena  School, 
and  contains  about  two  hundred  photographs  of 
paintings,  and  portraits  of  many  artists.  The  above 
three  volumes  embrace  most  of  the  Italian  art  ;^  the 
balance  is  set  forth  and  described  in  a  fourth 
volume,  called  the  Eclectic  School. 

Volume  five  represents  pictures  of  the  Dutch, 
Flemish,  and  German  schools.^ 

These  are  very  comprehensive  volumes,  and, 
being  chronologically  arranged  throughout,  are  a 
great  assistance  to  the  student,  and  disarm  the 
history  of  the  Renaissance  of  Mediaeval  Art  of  more 
than  half  of  its  complexities. 

We  will  now  go  back  to  volume  one  —  the 
Florentine  Art.  The  first  portrait  is  that  of  Cima- 
bue,  a  painter  of  the  thirteenth  century.  The 
five  following  photographs  represent  Madonnas 
painted  by  him,  two  of  which  are  in  Florence,  two 
in  Assisi,  and  one  in  the  Louvre,  Paris.  All  these 
paintings  possess  the  characteristics  of  the  age — 
a  stiffness  in  the  drapery  and  an  awkwardness  of 

1 "  Raphael,  His  Life  and  Works,"  to  which  have  been  added  many  illus- 
trations by  Eugene  Muntz,  1882. 

2  A  beautiful  edition  of  "  Flemish  Pictures,"  by  F.  G.  Stephens,  London, 
1875,  quarto,  is  in  our  possession,  illustrated  by  twenty  etchings,  to  which  we 
have  added  twenty  others  of  pictures  by  masters  of  the  same  school.  It  is 
half-bound  in  olive  crushed  levant  by  Alfred  Matthews.  Also  the  "  Life  of 
Holbein,"  to  which  have  been  added  some  portraits;  London,  1867. 

394 


pose.  The  next  collection  is  that  of  Giotto,  a 
painter  of  the  thirteenth  century,  with  his  portrait 
annexed,  and  following-  are  fifty-nine  photographs 
of  frescos  painted  by  him  in  the  Church  of  Santa 
Croce  and  the  Chapel  at  Padua  and  Assisi;  nearly 
all  are  Scripture  scenes  from  the  New  Testament, 
with  a  few  pictures  of  interiors.  Nothing  is  more 
remarkable  than  the  fertility  of  this  originative 
genius. 

The  next  are  the  works  of  Taddeo  Gaddi,  a  pupil 
of  Giotto.  Of  this  remarkable  painter  there  are 
thirteen  examples  of  scenes  from  the  New  Testa- 
ment; they  are  all  groups,  some  containing  hun- 
dreds of  figures ;  his  principal  works  were  in  the 
Church  of  Santa  Croce.  There  were  two  other 
Gaddi,  both  Florentines  —  one  was  Angelo  Gaddi, 
the  other  Gaddo  Gaddi,  who  was  a  pupil  of  Cima- 
bue.  Gaddi  paintings  are  noted  for  the  number  of 
figures,  all  well  placed,  and  help  to  tell  the  story. 

The  next  is  Orcagna,  a  painter,  architect,  and 
sculptor  of  the  fourteenth  century ;  there  are  only 
five  examples  of  this  artist ;  all  are  of  death,  hell, 
and  the  Judgment. 

Then  comes  a  portrait  of  Fra  Angelico,  of  the 
fourteenth  century,  followed  by  forty  photographs 
of  paintings  by  him  now  in  Florence  and  in  the 
Vatican  at  Rome ;  then  Spinello  d'Aretino  and  his 
works;  next  a  portrait  and  paintings  of  Masaccio,  of 

395 


the  fifteenth  century  ;  then  a  portrait  of  Fra  Filippo 
Lippi,  followed  by  fifteen  wonderful  pictures,  prin- 
cipally relating  to  the  Virgin  and  the  Coronation, 
one  in  Berlin  and  one  in  the  National  Gallery, 
London.  Then  follow  fourteen  pictures  of  Be- 
nozzo  Gozzoli,  fifteenth  century,  consisting  of  an- 
gels and  the  Adoration  of  the  Magi;  the  next  is 
Gerini,  fifteenth  century,  followed  by  four  pictures 
of  saints. 

Following  now  in  order,  and  with  their  works, 
come  Rasselli,  Polloniolo,  Vasari,  Verrocchio,  Sig- 
norelli,  with  twelve  examples;  Ghirlandaio,  with  fif- 
teen examples  —  twelve  in  Florence,  one  in  the  Sis- 
tine  at  Rome,  one  in  the  Louvre,  Paris ;  and  now 
Lorenzo  di  Credi,  with  portrait  and  four  examples, 
one  in  Paris  ;^  Filippino  Lippi,  fifteenth  century, 
seven  examples,  one  in  Rome ;  and  now  Fra  Bar- 
tolommeo,  with  sixteen  examples  in  Florence,  one 
in  the  Louvre,  Paris;  also  Albertinelli,  Florence; 
Michelangelo,^  two  portraits,  with  fifty  examples 
of  his  works,  ten  from  the  Last  Judgment,  an  altar- 
piece  in  the  Sistine  Chapel,  ceiling  frescos,  and  one 
Madonna,  National  Gallery,  London  ;  ^  Del  Sarto, 

1  See  "Renaissance  in  Italy,  The  Fine  Arts."  John  Addington  Symonds, 
1879. 

i^"Life  and  Works  of  Michelangelo  Buonarotti,"  by  Wilson.  London, 
1874. 

3  A  facsimile  collection  of  all  the  original  studies  of  Michelangelo  is  now 
in  the  University  at  Oxford;  they  formerly  belonged  to  Sir  Thomas  Law- 
rence, and  are  the  finest  in  existence;  they  cost  over  forty  thousand. dollars. 
A  popular  edition  of  these  works  was  published  in  London  in  quarto,  1872. 


with  portrait  and  fourteen  examples,  at  Florence, 
Pisa,  and  one  in  Paris. 

The  foregoing  is  the  result  of  our  examination  of 
the  first  volume,  or  the  Florentine  School.  We 
have  not  the  space  to  devote  to  the  other  volumes 
or  schools,  but  they  are  essentially  the  same  in 
method  and  structure,  and  represent  an  amount  of 
work  that  we  must  utterly  fail  in  attempting  to 
describe.  The  title-pages  to  these  volumes  are  in 
water-colors  and  symbolical.^ 

The  text  to  these  volumes  is  the  most  difficult  to 
describe.  The  matter  is  biographical,  historical, 
and  descriptive,  and  is  entirely  hand-printed  and 
illuminated.  The  letters  are  German  and  Old 
English  text,  and  some  are  indescribable,  being  of 
modern  esthetic  characters.  It  is  printed  with  a 
pen  in  colors,  with  painted  capitals.  There  are 
many  initial  words  and  sentences  in  letters  and 
colors  different  from  the  text.  A  portion  of  this 
work  is  very  elegantly  and  artistically  executed, 
but  it  is  not  all  equally  well  done. 

We  here  end  our  description  of  the  first  volume, 

1  We  cannot  resist  a  temptation  to  refer  to  one  of  the  most  elegantly 
gotten  up  books  on  art  in  the  English  language.  It  is  the  "  Longman's  New 
Testament,"  London,  1865,  with  engravings  on  wood  from  designs  of  Fra 
Angelico,  Pietro  Perugino,  Francisco  Francia,  Lorenzo  di  Credi,  Fra  Barto- 
lommeo,  Titian,  Raphael,  Gaudenzio,  Ferrari,  and  others,  being  sixty  full- 
page  wood-engravings  and  hundreds  of  illustrations  in  the  text,  with  head  and 
tail  pieces  and  borders  to  the  text.  It  is  one  of  the  most  satisfactory  books 
on  the  masters  that  we  have  ever  seen ;  full-bound  in  red  crushed  levant,  by 
Wm.  Matthews. 

397 


which  is  descriptive  of  the  Florentine  School  only; 
the  other  four  volumes  describe  in  the  same 
manner  the  other  schools  of  the  Renaissance  of 
Mediaeval  Art. 

It  is  always  a  pleasure  to  us  to  record  the  con- 
quests of  women  in  occupations  like  the  present, 
which  certainly  cannot  be  claimed  as  belonging 
exclusively  to  the  domain  of  man.  Mrs.  O.  B. 
Taft,  of  Chicago,  has  illustrated  the  edition  de  hixe 
of  George  Eliot's  "Romola"  (illustrated  by  Sir 
Frederick  Leighton),  to  which  she  has  added  two 
hundred  and  seventy-seven  etchings,  copperplates, 
and  steel-engravings,  and  an  autograph  letter  of 
Sir  Frederick  and  one  of  Charles  VIII.  of  France. 
This  work  has  been  extended  to  five  volumes,  and 
bound  by  Ringer,  of  Chicago,  in  Florentine  style. 
Also  Victor  Hugo's  "  Les  Miserables  "  has  been 
illustrated  up  to  six  volumes  by  the  insertion  of 
one  hundred  and  seventy  illustrations;  bound  by 
Ringer,  Chicago.  Also  "Old  Court  of  France,"  by 
Francis  Elliot,  in  process  of  illustration,  seventy-five 
prints  already  placed. 

Mr.  O.  B.  Taft  has  illustrated  J.  H.  Shorthouse's 
''John  Inglesant,"  extending  the  two  original  vol- 
umes to  five  by  the  insertion  of  two  hundred  and 
sixteen  illustrations  and  an  autograph  letter  of  Mr. 
Shorthouse  ;   bound  by  Ringer,  of  Chicago. 

Mr.  Taft's  library  has  notably  some  early-printed 

398 


books  of  the  fifteenth  and  sixteenth  centuries,  among 
which  are  many  interesting  reHcs  of  Savonarola. 

Mr.  L.  G.  Turner  of  New-York  has  also  devoted 
much  time  in  collecting  materials  and  in  illustrating 
favorite  books.  He  has  illustrated  James  Fenimore 
Cooper's  "Naval  History  of  the  United  States" 
by  the  insertion  of  over  two  hundred  prints,  con- 
sisting of  portraits  and  views.  Also  George  Ban- 
croft's "  History  of  the  United  States,"  ten  volumes 
to  fifteen  by  the  insertion  of  eight  hundred  illus- 
trations. Irving's  "Life  of  George  Washington," 
with  about  five  hundred  portraits  and  views  added. 
Joshua  Hett  Smith's  "  Life  of  Major  Andre,"  with 
sixty-three  illustrations,  principally  portraits,  added. 
"  Memoirs  of  General  Ulysses  S.  Grant,"  illustrated 
by  the  insertion  of  two  hundred  and  thirty-eight 
portraits.  "  History  of  New  London,  Connecticut," 
by  Miss  Caulkins,  with  one  hundred  and  fifty  prints 
and  fifty  autographs  added. 

We  regret  that  we  are  unable  to  give  a  full 
account  of  the  privately  illustrated  books  belong- 
ing- to  Z.  T.  Hollinofsworth  of  Boston.  The  work 
upon  which  Mr.  Hollingsworth  has  devoted  his 
energies  is  a  large-paper  copy  of  Washington 
Irving's  "  Life  of  George  Washington."  It  is  illus- 
trated by  over  two  thousand  rare  portraits  and 
maps,  including  three  hundred  different  portraits 
of  Washington,   and    about    one    thousand  of  his 

399 


compeers,  seventy  portraits  of  Franklin,  and  about 
forty  of  Lafayette.  It  contains  twenty  autograph 
letters  of  Washington ;  a  complete  set  of  the 
autographs  of  the  Signers  of  the  Declaration  of 
Independence,  with  the  exception  of  Gwinnett;  also 
letters  of  all  the  generals,  major-generals,  and 
aides,  nearly  complete,  and  many  others  of  states- 
men of  the  period,  to  the  number,  possibly,  of  three 
hundred ;  many  letters  in  relation  to  the  southern 
campaign,  with  much  other  interesting  Revolu- 
tionary material.  From  what  we  have  learned 
concerning  this  marvelous  work,  it  is  the  finest 
illustrated  "Washington"  in  existence,  with  the 
exception,  probably,  of  the  one  of  Mr.  Curtis 
Guild  of  Boston,  and  that  of  J.  Pierpont  Morgan 
of  New -York. 

Mr.  HoUingsworth  also  has  an  extensively  illus- 
trated "Nell  Gwynne,"  said  to  be  a  peerless  book, 
and  of  which  he  is  justly  proud.  There  are  many 
other  illustrated  books  in  this  collection,  a  list  of 
which,  we  much  regret,  we  are  unable  to  lay 
before   our  readers. 

Mr.  W.  Irving  Way  of  Chicago  is  responsible 
for  some  privately  illustrated  books.  He  has  illus- 
trated Thackeray's  "Four  Georges"  with  twenty- 
six  portraits  of  the  Georges  and  members  of  their 
families,  miscellaneous  portraits  of  Thackeray, 
Hogarth,    Miss    Chudleigh    as   Iphigeitia    at    the 

400 


Venetian  ambassador's  ball,  etc.  Nearly  all  of 
the  prints  are  proofs  and  before  letters.  Inlaying 
done  in  London  ;  binding  by  Bedford,  in  red 
crushed  levant,  imitation  of  Roger  Payne.  Also 
Thackeray's  "  English  Humourists,"  illustrated  by 
the  insertion  of  forty  portraits  and  views ;  bound 
by  Zaehnsdorf,  in  full  polished  calf  "A  New- 
Spirit  of  the  Age,"  by  Richard  H.  Home,  two 
volumes,  forty-seven  illustrations,  portraits,  and 
views,  autograph  letter  of  Mrs.  Shelly;  bound  by 
Zaehnsdorf,  in  full  calf.  Henry  Crabb  Robinson's 
''Diary,"  extended  to  three  volumes  by  the  inser- 
tion of  one  hundred  and  forty-six  prints,  portraits, 
and  views  ;  bound  by  Morrell,  in  full  calf 

John  Gait's  "  Lives  of  the  Players,"  three  vol- 
umes, many  portraits  and  views  inserted ;  bound 
by  Pratt,  in  full  calf  These  works  are  all  first  edi- 
tions ;  none  have  been  extended,  and  the  prints  are 
mostly  in  proof  state  and  rare.  Also  "Enemies  of 
Books,"  by  William  Blades,  illustrated  with  prints 
from  Fertiault's  "  Les  Amoureux  du  Livre,"  done 
by  Chevrier;  also  a  charming  letter  from  Mr. 
Blades  inserted ;  bound  in  dark-green  crushed 
levant,  by  Stikeman.  Andrew  Lang's  "  Books  and 
Bookmen,"  now  in  process  of  illustration,  will  be  a 
more  pretentious  book  than  any  other  in  Mr.  Way's 
collection.  It  will  consist  of  many  volumes,  the 
text  of  which  will  not  be  inlayed. 

401 


Mr.  I.  Remsen  Lane  of  New -York  has  some 
extra-illustrated  books  worthy  of  recognition  here. 
He  has  a  large-paper  edition,  on  Whatman  paper, 
only  fifty  copies  printed,  of  J.  Maberly's  "Print 
Collector."  This  work  has  been  illustrated  by  the 
insertion  of  seventy-six  prints,  which  include  origi- 
nals by  Rembrandt,  Diirer,  Martin,  Schoen,  Bew- 
ick, Van  Leyden,  Berghem,  Campagnola,  Callot, 
Behan,  Vandyke,  A.  Ostade,  Daubigny,  Jacque, 
Haden,  Whistler,  and  others.  This  is  a  very  wor- 
thy book  of  worthy  examples.  It  is  bound  in  full 
morocco  by  Smith  of  New  -York,  Also  H.  Adolphe 
Taine's  "  History  of  English  Literature,"  1874,  four 
volumes  extended  to  eight  by  the  insertion  of  eight 
hundred  portraits  and  views  ;  bound  by  Bradstreet. 
Also  "The  Complete  Angler,"  Little,  Brown,  &  Co., 
edition  of  one  hundred,  1866;  one  volume  extended 
to  three  by  the  insertion  of  three  hundred  and 
twenty-four  prints,  one  hundred  of  which  are  India 
proofs,  and  full  set  of  Pickering's  proofs,  etc. ; 
bound  by  Stikeman,  full  morocco,  with  emblematic 
tooling. 

The  following  works  belonging  to  Mr.  Lane  are 
of  the  highest  order  of  illustrated  books:  Alexander 
Ireland's  "Book-Lover's  Enchiridion,"  extended  to 
three  volumes  by  the  insertion  of  two  hundred  and 
forty-six  prints,  mostly  portraits.  Dr.  John  Lord's 
"  Beacon   Lights  of  History,"  seven  volumes,  six 

402 


hundred  and  thirty-three  portraits,  views,  historical 
prints,  and  original  drawings  inserted  ;  large  num- 
ber of  Picart's  copperplate  Biblical  views.  Also 
L,  B,  Seeley's  "Horace  Walpole  and  His  World," 
large  paper,  one  hundred  and  thirty-three  views 
and  portraits,  several  proofs  after  Joshua  Rey- 
nolds. L.  B.  Seeley's  "Fanny  Burney  and  Her 
Friends,"  large- paper  edition,  forty-four  views  and 
portraits  —  the  portraits  mostly  proofs  after  Sir 
Joshua  Reynolds.  Laurence  Hutton's  "  Literary 
Landmarks  of  London,"  eighty  views  of  the  land- 
marks inserted.  "The  Works  of  Robert  Burns," 
Paterson's  large-paper  edition,  six  volumes,  one 
hundred  and  seventy-five  portraits  and  views. 
"Don  Quixote,"  large  paper,  four  volumes,  two 
hundred  and  fifty-three  prints  and  etchings,  by 
Coypel,  Cruikshank,  Del  Castillo,  Hayman,  Na- 
varro, Vanderbank,  etc.  Gerald  Hart's  "  Fall  ot 
New  France,"  one  hundred  and  sixteen  portraits  and 
views,  some  rare  mezzotints.  Mr.  Lane  has  also 
partly  completed  Sir  William  Stirling  Maxwell's 
"Annals  of  the  Artists  of  Spain,"  new  large-paper 
edition  in  four  volumes.  Three  hundred  and  fifty 
prints  are  already  selected  for  the  work. 

It  has  been  said  by  Dr.  Henry  Maudsley,  the 
greatest  of  all  living  physicists,  that  three  fourths  of 
all  our  aptness  or  inaptness  are  inherited  from  our 
ancestors,  and  that  the  other  one  fourth  is  the  out 

403 


crop  of  some  kindred  inherited  quality.  But  Kalif 
Alee,  son-in-law  to  Mahomet,  declared  that  "men 
are  more  like  the  times  in  which  they  live  than  they 
are  like  their  fathers."  Which  of  these  two  great 
savants  is  right  I  shall  not  pretend  to  decide ;  nor 
that  there  is  any  antagonism  between  them.  But 
the  question,  how  many  of  the  famous  American 
Waltonians  are  indebted  to  their  ancestors  for  a  leg- 
acy in  this  most  extraordinary  folly,  rather  than  to 
the  fashion  and  culture  of  the  day,  would  not  be  a 
difficult  problem  to  solve. 

Of  the  most  celebrated  amone  Americans  who 
have  given  way  to  this  cultured  weakness,  or  who 
have  attested  their  appreciation  of  the  linen-draper 
of  Fleet  street,  and  have  given  him  the  honored  seat 
in  their  hearts  and  libraries,  are  Andrew  Wight, 
George  H.  Holliday,  John  C.  Brown,  John  Allan, 
Albert  G.  Greene,  Peter  Hastie,  Thomas  H.  Mor- 
rell,  Alexander  Barker,  Irving  Brown,  A.  Oakey 
Hall,  John  A.  Rice,  J.  H.  V.  Arnold,  Theodore 
Irwin,  I.  Remsen  Lane,  Richard  G.  White,  Charles 
Congdon,  Henry  T.  Cox,  E.  A.  Carman,  E.  G. 
Asay,  G.  W.  Bethune,  William  Menzies,  W.  L. 
Andrews,  Thomas  Westwood,  Hamilton  Cole,  Wil- 
liam Matthews,  E.  Bement,  John  J.  Kane,  Thomas 
J.  McKee,  William  T.  Horn,  Robert  Hoe,  Jr.,  W. 
C.  Crane,  W.  H.  Wyman,  Charles  C.  Moreau, 
William  B.  Dick,  and  Abby  E.  Pope,  not  one  of 

404 


whose  ancestors,  for  a  line  of  ten  generations,  we 
warrant,  knew  what  a  privately  illustrated  book  was. 
The  king  of  Waltonians  of  our  day  is  undoubt- 
edly Robert  Hoe,  Jr.,  Esq.,  of  New-York.  Mr. 
Hoe  is  a  genuine  and  enthusiastic  book-lover,  and 
his  attainments  in  esthetic  culture  are  of  the  highest 
order.  He  has  a  large  library  of  privately  illus- 
trated books,  and  yet  they  constitute  but  a  small 
portion  of  his  library.  It  would,  with  more  fitness, 
be  called  a  cabinet  of  gems.  It  is  composed  of  the 
choicest  editions  of  Baskerville,  Chiswick,  Picker- 
ing, Bagster,  and  Stockdale,  few,  indeed,  of  which 
have  been  deformed  by  the  inlaying  or  building-up 
process.  And  yet  they  have  been  copiously  illus- 
trated by  the  products  of  the  most  celebrated 
engravers,  whose  works  were  not  unfrequently 
produced  contemporaneously  with  the  events  of 
the  text.  We  find  here  examples  of  such  as 
Houbraken,  Morghen,  Faithorne,  Hollar,  Wierix, 
Vertue,  Edelinck,  Blooteling,  Bartolozzi,  Strange, 
Sharpe,  White,  Stothard,  Masson,  Nanteuil,  Water- 
loo, Richomme,  and  Landseer,  giants  of  the  burin, 
all  of  which  fit  with  as  much  nicety  as  if  designed 
originally  for  the  books.  There  are  but  few  in- 
laid prints,  and  these  few  were  inlaid  by  Trent. 
His  bindings  are  all  in  admirable  taste,  and  of 
exquisite  workmanship;    few,  indeed,  were  bound 

in  America. 

405 


I  have  selected  from  his  French  bindings  speci- 
mens of  Derome,^  Cape,  Lortic,  Simier,  Kohler, 
David,  Niedree,  Bauzonnet,  Duru,  and  Bernhard. 
His  favorite  English  binders  are  Lewis,  Bedford, 
Riviere,  Zaehnsdorf,  and  Bradel,^  and  they  are  all 
marvels  of  elegance  and  good  taste,  in  mosaic,  the 
Grolier  and  Harleian  styles. 

Mr.  Hoe  has  illustrated  the  first  Sir  Harris 
Nicolas  edition  of  "  Izaak  Walton"  of  1836,  by 
Pickering,  in  royal  octavo,  large  paper.  An  en- 
amored bibliophile  declared  the  "elegance  of  this 
book  enough  to  bring  the  Aldi^  from  their  graves." 

1  The  finest  specimen  of  the  binding  of  the  eighteenth  century,  the  master- 
piece of  Derome,  is  a  copy  of  the  "  Contes  "  of  La  Fontaine,  1762,  2  vols., 
8vo,  bound  in  citron  morocco,  with  compartments  in  colors  representing 
fruits  and  flowers.  For  this  copy  Mr.  Brunet  paid  six  hundred  and  seventy- 
five  francs  at  the  La  Bedoy^re  sale.  It  was  sold  for  seven  thousand  one 
hundred  francs  at  the  Burnet  sale  to  Auguste  Fontaine.  A  Bordeaux  book- 
collector  gave  ten  thousand  francs  for  it,  and  afterward  sold  it  to  an  Amer- 
ican banker  established  in  London.  Sent  to  auction  a  little  while  after,  these 
two  volumes  were  sold  for  thirteen  thousand  francs.  Is  this  the  last  of  them  ? 
We  think  not. 

2  As  representatives  of  the  present  state  of  artistic  skill  in  English  binding 
may  be  mentioned  Riviere,  Zaehnsdorf,  and  Francis  Bedford.  The  last  is 
considered,  by  some  of  his  admirers,  to  be  the  greatest  artist  in  bookbinding 
that  England  or  any  other  country  ever  has  produced.  Francis  Bedford 
lived  for  some  time  with  Charles  Lewis,  and  continues,  with  Riviere,  the 
style  which  Lewis  founded.  The  style  of  Riviere  is  more  ornamental ;  that 
of  Bedford  more  chaste.  For  his  work  to  be  appreciated,  it  must  be  consid- 
ered from  the  beginning.  The  late  Thomas  Grenville,  who  bequeathed  his 
magnificent  collection  of  books  to  the  British  Museum,  said  of  Bedford,  whom 
he  had  largely  employed,  that  he  was  the  only  bookbinder  in  London  who 
knew  how  to  rebind  an  old  book.  His  skill  in  this  difficult  and  delicate  oper- 
ation is  indeed  marvelous;  and  he  bestows  immense  care  and  labor  on  the 
gilding  and  lettering. — Cundall  on  Bookbindings,  1881. 

3  Of  all  who  have  heretofore  exercised  the  art  of  printing  —  an  art  of  which 
the  imperfect  attainment  is  as  easy  as  real  superiority  is  rare  —  Aldus  Manu- 
tius  the  elder  and  his  son  Paulus  are  entitled,  on  every  account,  to  the  first 

406 


The  orig-inal  is  in  two  volumes,  which  Mr.  Hoe  has 
extended  to  ten  by  the  insertion  of  thirteen  hundred 
and  three  illustrations,  old  and  contemporaneous 
prints,  artist  proof,  India  paper,  original  drawings, 
water-colors,  etc.  In  all  respects,  I  never  saw  a 
finer  book.  It  is  simply  immaculate.  He  has  also 
illustrated  a  large-paper  copy  of  Dr.  George  W. 
Bethune's  American  edition,  by  Wiley,  of  the  same 
work  with  a  very  select  set  of  prints;  bound  by 
Braney.  Also  another  —  the  Bagster  edition  of 
1815 — on  large  paper,  extended  to  four  volumes. 
This  elegant  reprint  of  the  original  edition  is  neither 

rank.  Filled  with  an  enthusiastic  ardor  for  the  literature  of  Greece  and 
Rome,  they  sacrificed  their  advantages  of  fame  and  fortune,  which  could  only 
be  obtained  from  works  of  their  own,  and  spent  the  whole  of  their  lives  in 
rescuing  the  ancient  writers  from  that  obscurity  in  which  the  barbarism  and 
superstition  of  the  Christian  ages  had  involved  them  ;  and,  not  content  with 
preserving  them  from  destruction,  they  were  desirous  of  rendering  the  study 
of  them  universal,  and  undertook  the  reproduction  of  them  in  less  expensive 
forms.  But  little  talent  was  necessary  for  the  printing  of  books  on  divinity 
and  mysticism,  which,  at  this  age,  almost  exclusively  engaged  the  press,  and 
to  quit  this  long-frequented  path  and  attempt  to  resuscitate  the  Greek  authors 
not  only  required  a  great  amount  of  erudition,  but  was  also  attended  with 
great  opposition  and  persecution  from  the  ignorance  which  had  been  growing 
deeper  from  the  fourth  century  of  the  Christian  era. 

But  these  celebrated  men  seemed  peculiarly  fitted  for  the  great  work  they 
had  undertaken.  Their  history  has  never  been  completely  written,  although 
there  are  many  short  accounts  of  them,  as  that  of  De  Thou,  which  is  rather  a 
testimonial  of  esteem  than  an  historical  relation,  and  fails  to  make  these  cele- 
brated printers  known  as  they  deserve  to  be  by  every  friend  of  literature. 
Unger  in  Germany,  Zeno  at  Florence,  Manni  at  Venice,  Lazeri  at  Rome,  and 
Maitrairi  left  accounts  more  or  less  detailed  of  these  Aldi ;  also  Renouard 
and  Didot  have  contributed. 

Aldus  Manutius  the  elder  was  born,  1447,  in  the  Papal  States.  His 
son,  Paulas,  was  born  at  Venice  in  15 12,  and  Aldus  the  younger,  son  of 
Paulus,  was  born  at  Venice,  in  1547.  Aldus  the  elder  died  in  1515  ;  Paulus 
died  in  1574,  and  Aldus  the  younger  died  in  1597. 

The  first  publication  of  Aldus  was  a  small  poem,  "  Musa;us,"  which  was 

407 


weakened  by  the  extension  of  its  pages,  nor  is  its 
dignity  compromised  by  the  presence  of  a  single 
print  which  is  not  a  genuine  acquisition  to  the 
beauty  and  value  of  the  book.  And  there  is  another 
small  copy  with  one  hundred  and  sixty  prints  of 

printed  in  Greek  and  Latin,  quarto,  1494.  In  the  same  year  appeared 
his  "Greek  Grammar"  of  Lascaris,  also  quarto.  In  1495  he  published 
Aristotle's  "Organum,"  in  folio;  also,  in  the  same  year,  "Grammatical 
Treatises,"  by  Theodorus  Apollonius  and  Herodianus,  in  folio;  and,  at 
the  same  time,  applied  himself  diligently  to  correcting  the  works  of 
Aristotle,  which  had  never  yet  appeared  in  Greek.  The  first  volume 
of  this  important  work  appeared  in  1495;  it  was  completed  in  1498,  the 
masterly  execution  of  which  placed  Aldus  very  high,  both  as  a  printer  and 
editor.  The  first  edition  of  "Lucian"  appeared  1496.  He  thus  placed 
within  the  reach  of  every  one,  successively,  "Aristotle,"  "Plato,"  "  Xeno- 
phon,"  "  Homer,"  etc.  In  1501  appeared  "  Virgil,"  in  octavo,  printed  with 
new  type,  which  he  patented.  In  the  same  year  he  produced  his  "  In- 
troductio  per  Brevis  ad  Hebraicam  Linguam."  Then  appeared  succes- 
sively "Virgil,"  "Horace,"  "Dante,"  "  Petrarca,"  "Juvenal,"  "Perseus," 
"  Martial,"  "  Lucian  "  (1503,  folio,  second  edition),  "Ovid,"  etc.,  etc.  Dur- 
ing the  years  1501,  1502,  1503,  1504,  and  1505,  the  Aldine  press  was  con- 
stantly employed.  "  Euripides  ". appeared  in  octavo  in  1503.  Aldus's  "Greek 
Grammar  "  did  not  appear  until  after  his  death  in  1515.  An  important 
work, —  his  Greek  and  Latin  Dictionary, —  printed  first  in  1497,  folio,  after- 
ward appeared  in  1524. 

Aldus  translated  into  Latin  the  "Greek  Grammar"  of  Lascaris;  the 
"  Batrachomyomachia,"  attributed  to  Homer;  the  sentences  "  Phocylides," 
and  the  "  Golden  Verses,"  which  are  ascribed  to  Pythagoras ;  th*e  Latin 
version  of  ^sop  and  of  Gabrias,  printed  in  folio  in  1505.  There  is  also  a 
tract  of  his,  "  De  Vitiata  Vocalium,  et  Diphthongorum  Prolatione,"  which  is 
found  with  a  work  of  his  grandson, "  Orthographical  Auctores,"  1566,  octavo ; 
and  another  small  work  of  six  pages,  printed  in  1514,  and  again  in  1533. 

In  his  "  Statius,"  printed  in  1502  and  again  in  1519,  is  a  tract  by  him 
entitled  "  Orthographia  et  Flexus  Dictionem  Gra^carum  omnium  apud 
Statium  cum  accentibus,"  etc.  He  also  wrote  a  "Life  of  Ovid,"  and  pre- 
fixed it  to  a  volume  of"  Metamorphoses  "  edited  in  1502  and  again  in  1515- 
16  and  1533-34- 

The  edition  of  "Ovid  "  of  1502  contained  some  notes  which  were  omitted 
in  the  subsequent  editions.  The  "  Works  of  Plutarch,"  1509,  folio,  is  quite 
faulty,  as  is  the  "  Homer  "  of  the  same  year. 

There  was  an  edition  of  the  Greek  alphabet  accompanying  the  Greek 
grammar.     It  was  afterward  published  with  additions. 

Such  were  the  life  and  works  of  the  elder  Aldus. 

408 


natural  scenery,  all  India  proof.  And  yet  another 
by  Major,  large  paper,  edition  of  1844,  illustrated 
up  to  two  corpulent  volumes  by  the  insertion  of 
two  hundred  and  sixteen  prints  in  proof.  Mr. 
Hoe  has  also  illustrated  the  first  octavo  edition  of 
Bagster,  1808;  and  also  the  large-paper  of  the 
same  edition.  They  are  both  charming  books. 
He  has  also  illustrated  the  Hawkins  edition  of  1 760 
(first  edition),  extending  it  to  two  volumes;  also 
the  Major  edition  of  Walton's  "Lives."  There  are 
some  others  less  pretentious,  making  in  all  about 
thirty  volumes  of  illustrated  Waltons.  These  books 
are  all  masterpieces  of  private  book-making.  There 
is  not  a  folded  or  impure  print  in  the  entire  collec- 
tion, nor  are  they  without  ample  margins — the 
glory  of  Stothard,  Inskip,  and  Absalon. 

And  now — a  little,  however,  out  of  its  chrono- 
logical order — comes  the  immortal  Bard  of  Avon, 
Shakspeare :  the  Rev.  Alexander  Dyce  edition, 
1857,  large  paper,  octavo,  originally  in  six  vol- 
umes, now  extended  to  twenty-one  by  the  insertion 
of  thirteen  hundred  and  seventy-two  illustrations, 
one  hundred  and  twenty-six  original  drawings  by 
Cook.  Harding,  Thurston,  Edwards,  and  others. 
We  think  this  book  is  the  greatest  triumph  of  the 
illustratino-  art  in  the  collection.  It  is  a  noble 
effort  to  reconstruct  the  lost  and  the  broken  links 
in  the  historical  record  and  personal  history  of  this 
27  409 


imperishable  man ;  for  positively  we  know  more  of 
the  personal  history  of  Socrates,  of  Horace,  of 
Cicero,  of  Augustine,  than  we  do  of  Shakspeare. 
O  that  he  had  had  his  Boswell ! 

There  is  another  illustrated  Shakspeare  in  this 
collection.  It  is  the  Alexander  Chalmers  edition, 
royal  octavo,  extended  to  ten  volumes  by  the  inser- 
tion of  seven  hundred  prints ;  bound  by  Bedford, 
London.  We  have  now  placed  in  our  hands  the 
"Life  and  Poetical  Works  of  John  Milton."  When 
"Paradise  Lost"  came  out,  Edmund  Waller  wrote 
the  Duke  of  Buckingham  that  the  old  blind  school- 
master had  written  a  book  on  the  Fall  of  Man ; 
that  there  was  nothing  remarkable  about  it  except 
its  great  length.  Posterity  has  reversed  the  judg- 
ment of  Waller  by  pronouncing  it  "the  second 
greatest  production  of  the  human  mind."  There 
is  but  little  doubt,  however,  that  the  halo  envelop- 
ing Milton,  and  the  bold  relief  of  his  position,  were 
as  much  owing  to  the  darkness  by  which  he  was 
surrounded  as  to  his  personal  nobility.  He  was 
the  center  of  a  most  licentious  group.  The  sur- 
roundings of  a  corrupt  and  obscene  court,  the  sick- 
ening conceits  of  the  contemporary  Cowley,  and 
the  pusillanimous  servility  of  Waller  had  reduced 
the  profession  of  poet  to  that  of  court  fool.  Burnet, 
speaking  of  "Paradise  Lost,"  says:  "It  was  the 
beautifulest  and  perfectest  poem  that  was  ever  writ- 

410 


ten  in  our  language."  Swift  says  "That's  a  lie;  it 
was  written  in  English."  Milton,  nevertheless,  out- 
ranked all  his  contemporaries.  This  Milton  is  a 
large-paper  by  Pickering,  extended  to  two  volumes 
by  the  insertion  of  two  hundred  prints,  forty  of 
which  are  portraits  of  Milton,  many  India  proof. 
But  the  glory  of  Milton  fades  in  the  transcendent 
beauty  of  a  large-paper  copy  of  the  "  Life  of  Alex- 
ander Pope  and  Works,"  extended  to  eighteen  vol- 
umes, with  four  hundred  and  fifty-two  portraits  and 
prints,  besides  fifty-seven  proof  portraits  of  Pope. 
This  magnificent  production,  representing  a  period 
wholly  within  the  Golden  Era  of  English  literature, 
is  illustrated  with  a  portrait  of  every  literary  man 
of  note  who  flourished  in  the  eighteenth  century. 
Here  is  also  its  complement — the  "  Dunciad,"  Song 
of  Dullness,  illustrated  separately,  but  uniformly 
bound. 

Poor  Pope!  His  irascibility  gave  him  but  little 
peace  in  life  ;  believing  himself  traduced  by  every- 
body, he  became  the  vilest  of  traducers.  Even 
Adolphe  Taine  says  of  the  dead  lion:  **  He  was 
crafty,  malignant,  and  a  nervous  abortion,"  and  that 
"all  the  filth  of  literary  life  was  centered  in  him." 
But  Taine  came  too  late  to  feel  the  lash  from  the 
Sublime  Goddess  of  Literature,  Daughter  of  Chaos 
and  Eternal  Night.  Pope  at  his  death  left  but  few 
calumnies  unavenged. 

411 


In  this  ornate  wilderness  of  books  and  prints,  it 
is  impossible  to  say  which  particular  book  or  set  of 
books  is  entitled  to  the  prize  for  excellence ;  for 
whatever  fascination  the  last  named  may  possess, 
the  next  is  pretty  certain  to  excel  it.  Another 
candidate  for  our  favor  is  a  large-paper  copy  of 
John  Ireland's  "  Hogarth"  (the  Juvenal  of  painters). 
This  was  Ireland's  own  copy,  with  the  original 
drawings  and  two  hundred  and  seventeen  duplicate 
and  triplicate  prints,  showing  the  various  unfinished 
stages  of  the  engraver's  process,  which  seems  to 
settle  all  former  questions  of  preeminence;  for,  of 
its  kind  and  character,  it  is  the  ne  plus  tiltra  of 
text-books  on  the  engraver's  art.  Next,  a  book 
of  which  Lord  Byron  said:  "It  is  underrated,  and 
for  two  reasons  —  first,  its  author  is  a  nobleman; 
and,  secondly,  he  is  a  gentleman."  But,  notwith- 
standing Byron,  it  is  a  book  of  frigid  and  arrogant 
conceits.  It  is  Horace  Walpole's  "Royal  and  Noble 
Authors,"  large  paper,  quarto,  with  duplicate  and 
proof  prints ;  and,  although  a  beautiful  book,  it 
does  not  overshadow  or  detract  from  its  graceful 
successor,  the  "Life  of  Thomas  Stothard,"  the 
artist,  by  Mrs.  Bray,  in  one  volume,  octavo,  ex- 
tended to  eight,  royal  quarto,  by  the  insertion  of 
eight  hundred  prints,  all  artist  proof,  with  drawings 
and  sketches  by  Stothard.  The  text  of  this  book 
is  extended — it  is  the  only  one  in  the  collection. 

412 


And  thus  we  go  on,  book  after  book — each  suc- 
ceeding one  disputing  the  honors  for  elegance  with 
its  predecessor. 

And,  now,  to  supplement  the  last-named  grace- 
ful work  —  Mrs.  Bray's  "  Stothard  " — we  have  the 
"Life"  of  the  accomplished  Mrs.  Sarah  Siddons,  the 
tragic  actress,  the  greatest,  by  common  consent, 
that  England  has  ever  produced.  This  book  is  a 
large-paper,  illustrated  to  four  volumes  by  one 
hundred  and  thirty  of  the  most  exquisite  prints, 
portraits,  and  portraits  in  costume  of  this  extra- 
ordinary woman.  It  is  a  masterpiece  of  the  illus- 
trator's art  blended  with  the  art  dramatic.  There 
is  another  copy  of  the  work  in  two  volumes,  bound 
by  David.  We  turn  with  regret  from  these  won- 
derful volumes  to  a  work  which  would  make  the 
heart  of  the  true  lover  of  the  burin  almost  leap 
from  his  body.  It  is  the  "Memoirs"  of  Abraham 
Raimbach,  an  English  line-engraver,  and  friend 
of  David  Wilkie.  This  book  is  illustrated  by  one 
hundred  of  the  choicest  proof  engravings  of  Raim- 
bach ;  no  such  collection  will  probably  ever  be 
brought  together  again.  It  is  a  unique  and  cap- 
tivating book. 

We  will  now  pass  to  the  realms  of  history  ;  and 
here  we  have  first  to  record  Thomas  B.  Macaulay's 
"History  of  England,"  in  eight  octavo  volumes, 
large  paper  (Holland),   with  four  hundred   prints 

413 


inserted;  Davis's  "History  of  Holland,"  in  three 
volumes — a  beautiful  and  rare  work,  with  a  great 
many  rare  prints;  John  Lothrop  Motley's  "Dutch 
Republic,"  one  hundred  and  thirty  early  prints; 
"  History  of  .the  Royal  Academy  of  Arts,"  by  Paul 
Sandby,  extended  to  three  volumes;  Henry  Hal- 
lam's  "  Literature  of  Europe,"  four  volumes,  with 
four  hundred  early  and  contemporaneous  prints; 
Due  de  Saint  Simon's  "  Memoire  Complet,"  three 
hundred  and  nine  prints  inserted,  twenty  volumes, 
bound  in  crimson  levant  by  Chambolle  Duru ; 
"  Tallemant  Des  Reaux,"  six  volumes,  small  octavo, 
two  hundred  prints  added;  Saint  Just,  "  Essays  on 
the  Spirit  of  the  Revolution."  But  the  monarch  of 
historical  illustrated  works  is  a  large-paper  octavo 
copy  of  the  Blackwood  edition  of  Sir  Archibald  Ali- 
son's "  History  of  Europe,"  in  fourteen  volumes, 
printed  in  Nichols  types,  and  extended  to  eighteen 
very  thick  volumes  by  the  insertion  of  over  seven- 
teen hundred  illustrations,  original  drawings,  water- 
colors,  and  a  great  many  military  costumes  of  the 
periods  (painted).  There  is  not  a  common  engrav- 
ing in  this  entire  work  ;  and  they  belong  to  and 
represent  the  art  progress  of  the  periods  which 
they  illustrate,   making  it    also    a   history    of  the 


engraver  s  art. 


We  have  now  given  a  complete  and  continuous 
history  of  literature  in  titles  from  Geoffrey  Chaucer 

414 


(^princeps poetariiDi),  and  the  "Canterbury  Tales," 
about  1380,  to  1835  ;  and  we  might  go  on  and  du- 
pHcate  and  tripHcate  the  result  from  this  wonderful 
collection.  We  have  scarcely  entered  upon  the  work. 
Of  the  illustrated  poets,  we  have  noted  as  most 
conspicuous  Rogers,  four  volumes ;  Campbell's 
"British  Poets,"  seven  volumes;  Byron,  fifteen  vol- 
umes ;  Gray,  two  editions  ;  Cooper,  four  volumes ; 
Burns,  four  volumes ;  Chaucer,  Dryden,  Akenside, 
Somerville,  Lamb,  "whose  veneration  for  the  clas- 
sics was  such  that  he  was  seen  to  kiss  a  copy 
of  Chapman's  'Homer'  which  he  had  picked  up 
for  a  trifle,"  two  sets;^  Keats,  Thomson,  Cowley, 
Goldsmith,  "  the  inspired  idiot,"  two  volumes ; 
Moliere,  six  volumes ;  Beranger,  five  volumes ; 
Corneille,  twelve  volumes;  Racine,  six  volumes;  La 
Fontaine,  seven  volumes ;  Fenelon,  Montaigne, 
Lamartine,  Perrault,^  Malby,  De  Thou,  Henault, 
Vertot,  Delille,^  and  many  others.    Of  unillustrated 

1  Of  this  translation  it  has  been  said  — 

"  That  after  ages  will  with  wonder  seek. 
Who  't  was  translated  '  Homer  '  into  Greek." 

2  "  Les  Hommes  Illustres,  qui  ont  Paru  en  France  Pendant  ce  Siecle.  Avec 
leurs  Portraits  au  Naturel,"  par  Charles  Perrault.  Paris,  1696.  2  vols.,  fol., 
one  hundred  portraits. 

3  These  were  all  famous  authors.  But  a  Frenchman's  fame  is  erratic. 
Malby  was  once  the  great  French  historian,  Gibbon's  rival.  His  works  lie 
as  deep  under  the  dust  of  libraries  as  the  histories  of  De  Thou,  of  President 
Henault,  or  of  Vertot.  Every  Frenchman  who  fled  the  Reign  of  Terror  had 
Delille's  poems  in  his  pocket.  And  now  the  weeds  are  so  thick  around  his 
grave  in  Pere  la  Chaise  that  you  cannot  make  out  the  name  on  his  monument. 
Who  now  reads  anything  that  Desfontaines  wrote  ?  Does  anybody  read 
Alexander  Duval's  plays  ?    He  was  the  Scribe  of  his  generation. — Scribner's. 


works  Mr.  Hoe  has  a  large  library ;  it  consists 
principally  of  general  literature ;  the  specialties 
are  on  the  drama,  with  no  ordinary  editions  and 
no  ordinary  bindings. 

But  this  already  has  become  tedious,  as  all,  even 
the  rarest,  things  do.  Madame  Sale,  after  describ- 
ing minutely  the  phenomena  of  earthquakes  for 
eight  successive  days  in  her  diary,  on  the  ninth 
enters,  "  Earthquakes  as  usual."  No  elaboration 
of  language  could  more  eloquently  reach  the  cli- 
max—  the  rarest  of  all  phenomena  had  become 
monotonous ;  and  this  arouses  our  apprehension 
touching  illustrated  books.  We  shall  therefore 
close.  One  thought  more,  and  we  have  done.  You 
have  observed  a  marked  contrast  in  our  description 
of  the  books  composing  Mr.  Hoe's  illustrated 
library  with  those  of  all  other  collectors  —  and 
especially  Mr.  Horn's,  whose  collection  is  com- 
posed of  kindred  works.  Many  times  they  have 
illustrated  not  only  the  same  authors,  but  the  same 
editions.  The  contrast  is  much  greater  than  can 
be  described.  We  speak  of  their  methods,  each 
having  pursued  his  own.  Mr.  Hoe  is  implacable, 
and  has  despotically  adhered  to  the  rule  of  illustrat- 
ing his  fine  editions  without  building  them  up  to 
the  prints. 

Mr.  Horn,  in  his  stately  collection,  has  pursued 
the  other  method,  and  has  inlaid  the  text  of  nearly 

416 


all  his  books,  although  there  are  some  magnificent 
exceptions  to  this  rule.  We  think  inlaying  the  text 
objectionable,  for  the  following  reasons:  first,  the 
irreparable  loss  of  the  identity  of  the  original  book ; 
second,  it  makes  an  unwieldy  and  cumbersome 
volume  ;  third,  it  occupies  a  great  deal  of  room  — 
an  important  consideration  in  a  library ;  fourth,  it 
calls  into  requisition  prints  physically  disqualified 
from  their  size  for  book-illustrating,  and  which 
should  find  their  resting-place  in  portfolios;  fifth, 
it  costs  too  much  money. 

These  gentlemen  have  illustrated  few  books  of 
America,  maintaining  that  America  is  too  limited 
in  its  material  for  fine  books ;  that  it  has  no 
retrospect  of  departed  greatness.  This  we  are 
not  quite  willing  to  admit,  and  refer  with  pride  to 
the  successful  efforts  of  men  of  the  greatest  culture, 
as  Dr.  Emmet,  McKee,  Andrews,  Arnold,  Moreau, 
Jones,  etc.  Yet  we  must  admit  that  there  is  a 
charm  about  the  survivino-  memories  of  those  old 
times  —  the  Augustan  Ages  of  France  and  Eng- 
land—  which  have  been  told  and  retold  and  writ- 
ten and  rewritten  by  succeeding  historians  until 
they  have  worn  off  their  grossness.  These  old 
memories  are  like  the  primary  rocks  on  our  earth, 
all  rounded  and  polished  and  striated  and  beauti- 
fied by  the  slow  attrition  of  the  secondary  and  ter- 
tiary and  post-tertiary  over  them,  while  the  more 

417 


modern  stand  out  before  us  in  all  the  rugged  and 
uncanceled  deformities  of  recent  upheavals.  This 
last  spectacle  is  that  of  America.  It  is  to-day  the 
busy  workshop  of  civilization ;  the  upheaval  of  the 
restless  populations  of  the  world.  The  entire  rolling- 
stock  of  humanity  is  being  reinvested  and  remod- 
eled and  started  off  afresh  in  the  race  for  empire; 
and  when  a  resting-place  is  reached  —  when  a 
breathing  opportunity  arrives  for  this  great  people 
to  consider  their  whence  and  their  how,  then  a 
value  which  has  no  parallel  in  the  extravagances 
of  the  present  day  will  invest  in  every  relic,  in 
every  scrap  of  history,  in  every  old  coin,  in  every 
portrait,  in  every  autograph  which  may  throw  a 
light  backward  upon  their  individual  or  national 
origin.  We  believe  there  is  yet  to  be  evolved  from 
our  civilization  an  avatar,  a  humanity  as  purely 
American  as  the  Falls  of  Niagara,  an  incarnation 
of  art,  poetry,  and  music,  with  a  conception  so 
ofrand  as  to  embrace  the  entire  American  life.  And 
when  this  does  come,  the  names  of  Shakspeare, 
Pope,  Milton,  Keats,  Carlyle,  Handel,  Haydn,  Mo- 
zart, Mendelssohn,  Giotto,  Salvator,  Brunet,  La- 
lanne,  Rubens,  and  Meissonier  will  be  placed  before 
the  world  in  brackets. 

We  have  now  finished  our  account  of  privately 
illustrated  books  and  illustrators.  We  introduced 
our  volume  with  John  Allan,  who  was  a  collector 

418 


not  only  of  books,  but  of  coins,  watches,  snuff- 
boxes, china,  bric-a-brac  —  in  short,  he  collected 
nearly  everything.  Very  few  of  the  gentlemen 
named  in  this  volume  as  print-collectors  and  pri- 
vate illustrators  have  confined  themselves  to  this 
field  alone ;  there  are  amongst  them  collectors  of 
fine  bindings,  Elzevir  classics  at  present  not  much 
sought  after,  but  which  will  be.  Some  have  made 
a  speciality  of  the  literature  of  the  gun,  others 
of  the  rod.  Some  have  made  a  general  col- 
lection of  ceramics — others  have  confined  them- 
selves to  a  single  class.  Some  have  limited  their 
collection  to  the  ceramic  art  of  Japan.  Some  have 
collected  coins  generally;  others  Greek  coins  only; 
others  again  only  American.  Some  have  collected 
armor,  some  weapons  of  warfare,  some  firearms. 
Bronzes,  ancient  and  modern,  have  been  the  passion 
of  some  —  others,  again,  rugs,  tapestries,  and  laces. 
Some  have  made  archaeological  collections  of  arrow 
and  spear  heads,  stone  hatchets,  axes,  hammers, 
mortars,  and  the  thousands  of  other  collectable 
things.  The  one  fourth  of  their  extravagance  has 
not  been  told.  Nearly  all  the  residences  visited  by 
us  in  gathering  the  material  for  this  monograph 
bore  evidence  that  the  owners  indulged  in  other  col- 
lecting habits  besides  books.  Many  of  these  small 
beginnings  will  reach  to  large  collections,  and  will 
find  a  resting-place,  eventually,  with  some  kindred 

419 


collection  in  public  museums;  this  is  the  history  of 
such  accumulations  of  art  and  virtu  the  world  over. 

And  now,  before  we  close,  one  word  commenda- 
tory and  in  defense  of  the  collector,  who  has  been 
the  preserver  of  the  past  scientific  and  artistic  his- 
tory of  our  race.  Whether  in  the  stone  arrow- 
heads of  the  savage,  or  the  paintings,  books,  tapes- 
tries, and  laces  of  our  more  immediate  and  more 
cultured  ancestors,  we  care  not;  one  thing  must  be 
conceded  —  collectors  are  men  and  women  of  intel- 
ligence ;  and  they  are  possible  only  in  countries 
and  eras  of  the  highest  civilization.  There  is  not 
a  great  museum  to-day  in  the  world  which  did  not 
begin  in  the  private  cabinet  of  some  enthusiastic 
student  and  collector.  The  marvelous  unselfish- 
ness of  these  men  and  women  has  never  been  half 
appreciated. 

Besides  libraries  for  which  every  considerable 
town  in  the  United  States  and  nearly  every  insti- 
tution of  learning  is  indebted  to  some  amicus 
humaiii  geneiHs,  we  have  at  Boston  a  Museum  of 
Natural  History  ;  a  Dr.  John  C.  Warren  Museum  ; 
an  Ichnological  Museum  at  Amherst ;  a  Smith- 
sonian Institute  at  Washington;  a  Metropolitan 
Museum  in  New-York,  containing  a  vast  number 
of  private  collections  in  many  departments.  We 
have  also  a  Museum  of  Natural  History  in  New- 
York,  one  of  the  greatest  educational  institutions  in 

420 


America,  founded  entirely  upon  private  collections 
in  zoology,  archaeology,  paleontology,  and  geology; 
the  Stearns  Chinese,  Japanese,  and  Corean  Collec- 
tion of  Ceramics  in  Detroit;  the  Dreer  Collection 
of  Autographs,  the  largest  probably  in  the  world,  in 
the  Pennsylvania  Historical  Society;  and  we  might 
go  on  and  recall  hundreds  of  other  great  museums, 
libraries,  and  galleries,  the  foundations  of  which 
were  private  collections,  and  which  are  maintained 
largely  by  private  munificence. 

The  passion  for  collecting  is  by  no  means  an 
ignoble  one.  The  collector  has  been  a  more  potent 
factor  in  the  dissemination  of  general  knowledge, 
in  liberalizino-  and  broadeningr  our  methods  of 
thought,  than  all  the  colleges  in  the  land ;  not  that 
we  prize  schools  less,  but  collectors  and  muse- 
ums more.  True,  all  science  is  more  efficient 
in  good  work  when  the  material  has  escaped  the 
privacy  of  the  individual  and  reached  a  proper 
public  repository  and  become  classified  within 
special  departments,  showing  its  sequence  or  the 
relations  of  past  to  present.  To  be  more  perspic- 
uous. As  in  art  we  know  that  through  a  famil- 
iarity with  artists  and  men  of  artistic  tastes  we 
assimilate    their   best    ideas    of   the   graceful    and 

o 

beautiful  into  our  intellectual  constitutions,  we  are 
naturalized  into  their  world  and  become  related  to 
them  in  their  higher  life.      But  we  require  more : 

421 


all  these  associations  apply  to  contemporaneous  art 
and  culture  only,  and  do  not  take  in  that  greater 
reflex  culture  of  the  past  which  is  to  be  obtained 
from  the  accumulated  works  of  past  ages,  the  con- 
venient depositories  of  which  are  large  museums. 
As  in  ethnological  science,  so  in  art,  a  knowledge 
of  the  past  enables  us  to  make  comparisons  with  the 
present,  and  with  a  knowledge  of  the  past  and  pres- 
ent, we  may  speculate  concerning  the  future — ab 
achi  ad  posse  valet  illatio — -and  in  economical 
science  avoid  those  causes  which  have  in  past  times 
througfh  ignorance  led  to  calamitous  results.  For 
the  collecting,  massing,  and  enlightened  arrange- 
ment into  galleries  and  museums  of  those  relics  of 
the  past  which  have  made  this  knowledge  possible, 
we  are  indebted  principally  to  collectors ;  and  to 
them,  above  all  other  men  and  women,  we  render 
our  heartfelt  thanks. 


422 


CHAPTER   VIII. 

Conclusion.     Proper  Books  to  Illustrate,  and 
How  TO  Illustrate  Them. 


J     ■     ND  now,   dear  reader,   having  jour- 
■■■■       neyed  together  over  nearly  five  hun- 
f^y €  »  dred  pages  of  corduroy,  we  are  ap- 

proaching a  point  where  we  must  separate,  maybe 
forever.  A  few  words  before  parting.  You  and 
we  shall  pass  away,  but  the  refined  dissipation  of 
privately  illustrating  books  will  continue.  The  cus- 
tom is  yet  in  its  infancy  in  this  country,  and  al- 
though an  expensive  luxury  now,  the  cost  of  extra- 
illustrating  books  fifty  years  hence  will  be  ten  times 
greater  than  at  present.  To  supply  the  demand 
for  material,  now  becoming  scarce,  there  will  grow 
up  a  class  of  clever  artists  educated  and  trained  in 
the  special  work  of  illustrating  our  modern  litera- 

423 


ture  in  drawing,  sepia,  and  water-color.  They  will 
accomplish  for  a  single  book  what  some  of  the 
most  celebrated  early  engravers  did  for  a  whole 
edition.  There  will  be  masters  in  this  art  who,  like 
the  great  historical  painters,  will  penetrate  to  the 
inmost  thoughts,  moods,  and  methods  of  the  author, 
and  spread  him  out  upon  his  own  page  in  chiaros- 
curo and  polychrome.  What  he  has  fallen  short' of 
expressing  in  language  they  will  attempt  to  make 
clear  through  processes  in  art.  There  will  un- 
doubtedly be  much  artistic  work  accomplished 
under  this  regime,  but  we  shall  have  many  new 
Dantes  and  new  Dores  to  fill  the  world  afresh  with 
horrors.  This  new  method  will  be  expensive  for 
the  coming  illustrator,  but  it  will  be  cheaper  and 
have  more  originality  than  to  illustrate,  as  at  pres- 
ent, with  prints  which  will  not  be  obtainable  at  any 
price  in  a  few  years.  Gentlemen  of  leisure  who 
shall  attain  to  a  mastery  of  this  art  for  their  amuse- 
ment will  derive  greater  pleasure  in  illustrating 
their  books  under  it  than  under  the  now  mechan- 
ical operation  of  inlaying  prints  furnished  at  hand. 
"  Slight  sketches  or  amateur  work  will  not,  how- 
ever, appease  the  bibliophile,  though  for  variety  a 
powerful  and  correct  drawing  without  much  finish 
is  often  admissible.  Real  fervor  is  apt  to  be  re- 
pressed by  the  danger  of  spoiling  a  leaf  when,  per- 
haps, the  book  is  nearly  finished.     For  this  reason 

424 


the  work  of  beginners,  however  good  in  other  fields, 
shows  signs  of  timidity  and  feebleness.  Concen- 
tration of  attention  and  perfect  confidence  with 
every  stroke  of  the  pen  or  brush  are  essential  to 
success  in  this  branch  of  art.  Sometimes,  in  draw- 
ing miniature  portraits,  such  delicacy  of  touch  is 
required  to  secure  a  likeness  that  the  artist  must 
use  a  magnifying-glass  and  hold  his  breath. 

"Those  who  have  seen  India-ink  drawings  on  the 
block  before  enoravin^  and  who  know  how  far 
superior  they  are  to  the  engraving  itself,  however 
exquisite,  may  form  an  idea  of  the  quality  of  work 
in  hand-illustrated  books.  The  same  superiority 
marks  the  pen-and-ink  drawings,  for,  instead  of 
showing  uniform  wiry  black  lines,  as  in  'process' 
engraving,  they  are  executed  in  two  or  three  shades 
of  India  ink,  which  give  the  gradations  of  a  steel 
plate.  French  illustrators  are  much  given  to  elab- 
orate borders,  floral  and  arabesque,  often  more 
redundant  in  lines  and  color  than  the  illuminated 
missals  of  the  middle  ages.  Such  work  is  without 
suggestion,  and  the  true  bibliophile  desires  mean- 
ing in  every  illustration." 

Of  course  the  new  method  will  require  a  more 
intense  study  of  authors  and  of  character.  But 
how,  we  shall  be  asked,  are  men  to  be  successfully 
studied  ?  We  know  the  difficulties  which  beset  the 
amateur.     There  are  men  the  study  of  whose  lives 

425 


would  involve  a  whole  system  of  mental  science. 
Take  Richelieu,  so  quiet,  so  sleek,  so  pious,  and 
yet  so  cruel.  Was  the  great  impulse  of  his  life 
power  and  glory,  or  was  it  one  perpetual  effort  to 
reach  a  position  of  absolute  personal  safety  ?  He 
was  silent,  and  in  that  silence  was  his  concealed 
depth  —  a  depth  which  the  hand-illustrator  or 
aquarellist  must  fathom  if  he  would  do  successful 
work;  he  must  illustrate  character;  and  among 
biographies  of  men  there  are  none,  probably,  more 
difficult  to  clothe  with  motive,  or  to  disentangle 
the  noble  pretentiousness  from  the  incongruous 
meanness,  than  that  of  Richelieu. 

This  method,  however,  of  hand-illustrating  will 
never  thoroughly  supplant  the  old  methods  in  histor- 
ical or  biographical  works,  where  contemporaneous 
illustrations  possess  the  greater  merit  and  where  the 
ideal  cannot  be  permitted.  There  are  some  lives 
which  are  entirely  pictorial;  their  events  consist  of 
manners  and  customs  only;  they  are  more  graphic 
than  general  history;  all  we  get  from  them  is  the 
physique  of  the  times:  such  will  cling  to  the  old 
regime.  The  diary  of  that  twaddling  old  gossiper 
Pepys  in  this  respect  is  most  valuable ;  he  put 
down  events,  as  they  transpired,  with  clear  and 
accurate  detail;  he  kept  no  diary  of  thought  or 
feeling,  but  put  down  simply  what  he  saw ;  and 
so  the  "  Memoirs  of  Count  de  Grammont." 

426 


In  this  relation  it  would  be  an  almost  criminal 
defect  to  omit  one  of  the  most  picturesque  works 
ever  written  —  James  Boswell's  "  Life  of  Sam  John- 
son." Macaulay  says :  "  We  are  not  sure  that  there 
is  in  the  whole  history  of  the  human  intellect  so 
strange  a  phenomenon  as  this  book.  Many  of  the 
greatest  men  that  have  ever  lived  have  written 
biography.  Boswell  was  one  of  the  smallest,  and 
he  has  beaten  them  all.  He  was,  if  we  are  to  give 
any  credit  to  his  own  account,  or  to  the  united 
testimony  of  all  who  knew  him,  a  man  of  the  mean- 
est and  feeblest  intellect."  In  a  happy  hour  he 
fastened  himself  on  Johnson.  Johnson  described  him 
as  a  fellow  who  had  missed  his  only  chance  of  im- 
mortality by  not  having  been  alive  when  the  "Dun- 
ciad"  was  written.  Beauclerk  used  his  name  as  a 
proverbial  expression  for  a  bore.  He  was  the 
laughing-stock  of  the  whole  brilliant  society  which 
has  owed  to  him  the  greater  part  of  its  fame,  and 
was  always  laying  himself  at  the  feet  of  some 
eminent  man  and  begging  to  be  spit  and  trampled 
upon.  He  was  forever  earning  some  ridiculous 
nickname,  and  then  "binding  it  as  a  crown  unto 
him."  He  exhibited  himself  at  the  Shakspeare 
jubilee,  to  all  the  crowd  which  filled  Stratford-on- 
Avon,  with  a  placard  round  his  hat  bearing  the 
inscription  of  "Corsica  Boswell."  Servile  and  im- 
pertinent, shallow  and  pedantic,  a  bigot  and  a  sot, 

427 


bloated  with  family  pride  and  eternally  blustering 
about  the  dignity  of  a  born  gentleman,  his  bi- 
ography contained  everything  which  any  other 
man  would  have  suppressed,  things  which  would 
have  made  any  other  man  hang  himself  All  the 
caprices  of  his  temper,  all  the  illusions  of  his  vanity, 
all  the  hypochondriac  whimsies,  all  his  castles  in 
the  air,  he  displayed  with  a  cool  self-complacency, 
a  perfect  unconsciousness  that  he  was  making  a 
fool  of  himself  That  such  a  man  should  have 
written  and  word-illustrated  one  of  the  best  books 
in  the  world  is  strange  enough.  But  had  he  not 
been  a  great  fool  he  would  not  have  been  a  great 
writer. 

There  are  persons  named  in  this  monograph 
who  have  already  made  great  progress  in  the  art  of 
hand-illustrating  or  as  aquarellists.  We  have  seen 
meritorious  work,  original  and  copies,  by  some  of 
these  amateurs,  whose  names  we  regret  we  are 
not  at  liberty  to  use  here.  The  daughter  of  one 
has  done  some  elegant  work  on  the  large  margins 
of  a  privately  printed  Dickens,  notwithstanding 
that  illustrations  to  his  works  have  usually  been 
disappointing. 

The  great  work,  "The  Life  of  Peg  Woffington," 
by  Augustin  Daly,  illustrated  by  Eugene  Grivaz, 
a  French  artist,  and  referred  to  in  another  chapter, 
is  a  splendid  example  of  this  work.     The  French, 

428 


who  have  long  practised  this  art,    have  recently 
produced  some  of  their  works  in  duplicate.^ 

But  we  have  no  occasion  for  going  abroad  to 
seek  the  necessary  examples  for  our  purpose.  The 
work  is  performed  at  our  thresholds  by  artists 
named  in  this  volume.  Major  David  E.  Cronin 
has  probably  done  more  of  this  class  of  artistic 
work  than  any  other  man  in  America.  He  is  an 
American,  but  was  trained  in  the  art-schools  of 
London,  Paris,  Brussels,  Dusseldorf,  and  Antwerp. 
The  following  facts  were  obtained  through  the 
courtesy  of  Mr.  John  Anderson,  Jr.,  of  New-York, 
agent  for  Major  Cronin  and  his  works:  Major 
Cronin  has  successfully  illustrated  in  water-color 
and  India-ink  drawings — Walton's  "Angler,"  for 
Henry  T.  Cox;  "Fair  Women,"  for  Henry  T. 
Cox;   "Valentino,"    for   William    Waldorf  Astor; 

1  "  Grands  Peintres  Fran^ais  et  Etrangers.  Ouvrage  d'Art.  Aquarel- 
listes  Fran^ais  Societe  de  Ouvrage  d'Art.  Public  avec  le  Concours  Artistique 
de  Tous  les  Societaires.  Texte  par  les  Principaux  Critiques  d'Art."  Paris, 
four  volumes,  folio,  1883-84. 

"Grands  Peintres  Fran9ais  "  is  illustrated  by  four  hundred  and  fifty  pho- 
togravures and  woodcuts,  proofs  on  India  paper  of  best  examples  of  Bou- 
guereau,  Alma-Tadema,  Munkacsy,  Bonheur,  Henner,  Baudry,  Bridgman, 
Breton,  Bonnat,  Millais,  Van  Marcke,  Herkomer,  Meissonier,  Boulanger, 
and  Gerome. 

The  Book  of  the  Society  "  Aquarellists  "  is  printed  on  vellum  paper  from 
the  mills  of  Marais.  The  work  of  each  artist  is  a  study,  and  is  composed  of 
five  subjects,  and  printed  in  color,  both  in  the  text  and  separately.  The 
artists  represented  and  described  in  these  volumes  are  Louis  Leloir,  Edou- 
ard  Detaille,  Gustave  Dore,  Ernest  Duez,  F.  Louis  Frangais,  Maurice  Leloir, 
Ferdinand  Heilbuth,  Mme.  Madelaine  Lemaire,  A.  de  Neuvillc,  Georges 
Vibert,  Eugene  Lami,  Roger  Jourdain,  L.  Eugene  Lambert,  Jules  Worms, 
Jules  Jacquemart,  James  Tissot,  Henri  Baron,  Gustave  Jacquet,  Eugene 
Isabey,  Charles  Delort,  and  others. 

429 


"Holland  Society  Book,"  for  The  Holland  Society; 
'•Peg  Woffington,"  for  Augustin  Daly;  "The 
Players,"  for  the  Players'  Club;  "  Domesticus,"  for 
William  Allen  Butler;  Macaulay's  "Lays,"  etc., 
for  Hon.  Calvin  S.  Brice ;  "Sforza,"  for  William 
Waldorf  Astor;  "Fair  Women,"  for  E.  Dwight 
Church;  Grant's  "  Memoirs,"  for  Daniel  Parish,  Jr. ; 
Keats's  "Poems,"  for  Thomas  E.  Stillman;  Poetry 
of  Shelley  and  Poetry  of  Byron  (limited  editions), 
for  Godfrey  A.  S.  Wieners.  He  has  also  illustrated 
"Oliver  Twist,"  "Great  Expectations,"  "Actors 
and  Actresses,"  Dame  Berner's  "Arte  of  Fyssh- 
ynge,"  Pepys's  "Diary,"  etc.  And  Mr.  Abram 
Hosier  has,  as  we  have  shown  under  their  appro- 
priate heads,  performed  a  great  amount  of  origi- 
nal and  copied  work  for  the  illustrators  Charles 
I.  Bushnell,  William  L.  Davis,  William  Menzies, 
William  Whitman,  William  L.  Andrews,  J.  S.  and 
Charles  C.  Moreau,  Dr.  Thomas  A.  Emmet, 
Thomas  J.  McKee,  and  many  others.  Illustrators 
of  books  with  pen  and  pencil  must  be  lovers  of 
literature  as  well  as  art.  Meissonier's  early  train- 
ing as  a  book-illustrator   helped   to  make   him   a 


great  artist. 


Reader,  are  you  an  illustrator?  Let  us  reason 
together.  You,  undoubtedly,  have  some  purpose 
in  illustrating  a  book.  It  is  in  a  sense  either  to 
annotate  and  interpret  the  text  through  the  means 

430 


of  additional  graceful,  contemporaneous  prints;  or 
to  animate  the  subject-matter  of  the  book,  exem- 
plify the  incidents,  manners,  and  customs,  by  a 
reinforcement  of  portraiture,  drawings,  sketches, 
autograph  letters,  or  anything  that  may  add 
graphic  force  to  the  subject-matter  of  the  book;  or 
to  decorate  and  embellish  the  work  from  an  artistic 
point  of  view,  regardless  of  the  above  facts;  or  to 
gratify  a  personal  vanity  and  a  desire  to  possess 
that  which  no  one  else  can  obtain;  or  for  the  plea- 
sure derived  from  coauthorship  in  the  work  in 
having  added  something  which  enhances  its  lit- 
erary and  artistic  merit.  One  or  all  of  these  con- 
siderations may  enter  into  the  quo  animo  of  our 
illustrated  books,  and  be  deemed  a  sufficient  com- 
pensation for  the  labor  and  expense. 

But  does  it  really  pay?  This  question  —  from  an 
educational  and  taste-refining  point  of  view,  in  the 
exercise  and  development  of  the  noblest  faculties 
of  our  nature — we  have  answered  in  a  former 
chapter  in  the  affirmative.  And  we  think  that  un- 
der discreet  management,  within  our  proper  indi- 
vidual means,  even  from  a  mere  financial  point  of 
view,  it  also  does  pay,  providing  any  money-value 
can  be  assessed  upon  the  pleasure-giving  pursuits 
of  this  life.  As  an  investment,  however,  it  is  not 
so  productive  of  metallic  results  as  some  other  ven- 
tures;  but  in  the  evil  day  it  is  never  a  total  loss, 

431 


while  in  comfort  and  solace  it  stands  in  bold  relief 
against  a  background  of  all  the  faded  dissipations 
of  our  lives.  The  object  of  our  enjoyment  remains 
true  to  us;  we  are  never  reduced  to  the  alternative 
of  the  boy  whose  grief  was  unassuageable  because 
he  could  not  "eat  his  cake  and  have  it  too."  All 
this,  however,  is  viewing  the  subject  from  a  purely 
individual  point  of  view,  the  yield  to  us  being  far 
more  than  six  per  cent,  upon  the  investment — not 
in  money,  but  in  pleasurable  association.-^  The 
value  or  merit  of  an  extra-illustrated  book  is  not 
ideal  —  it  is  a  permanent  good.  As  a  purely  liter- 
ary work,  however,  its  value  is  oftentimes  sadly 
impaired  by  its  associations,  especially  in  books 
extended  to  cumbersome  folios ;  and  this  is  also 
sometimes  true  of  smaller  books,  gotten  up  too 
delicately  and  expensively  for  every-day  wear.  Mr. 
Moreau  said :  "  Nothing  can  exceed  the  pleasure 
of  the  pursuit  of  material  for  illustrating  a  favorite 
book ;  but  when  the  object  is  obtained,   the  book 

1  Few  persons  would  deem  two  hundred  and  fifty  dollars  well  invested  in 
privately  illustrating  the  edition  de  luxe  of  the  Catalogue  of  the  Art  Collection 
of  Mrs.  Mary  J.  Morgan,  sold  in  the  American  Ai-t  Gallery,  iS86;  but  that 
work  has  been  accomplished,  and  satisfactorily  to  the  illustrator.  The  one 
thin  volume  has  been  extended  to  two  stout  quartos  by  the  insertion  of  about 
one  hundred  and  sixty  illustrations,  consisting  of  portraits  of  artists,  etchings, 
and  photogravures  of  the  works  of  artists  and  of  paintings  named  in  the 
catalogue  ;  also  thirty-two  pages  of  inlaid  text,  being  a  history  of  the  collec- 
tion, with  the  price  that  each  painting  fetched,  the  price  it  cost,  and  its  fair 
valuation ;  also  other  interesting  matter  connected  with  the  greatest  private 
art  collection  —  in  Sevres  and  Oriental  porcelains,  bronzes,  jade-stone,  enamels, 
lacquers,  cameo  glass,  and  bric-a-brac  —  ever  yet  brought  together,  and  which 
will  never  be  excelled. 


finished  and  bound,  the  pleasure  is  passed,  and  it  is 
put  in  the  morgue, —  that  is,  on  the  shelves  of  the 
library, — and  there  is  no  more  solicitude  about  it." 
This  is  not  true  of  all  illustrators  or  of  all  books ; 
we  know  the  pleasure  of  pursuit  is  over  when  the 
book  is  finished,  but  it  also  yields  a  great  satisfac- 
tion in  possession. 

We  have  been  requested  to  suggest  some  stan- 
dards for  illustratincr  books  which  amateurs  mig^ht 
regard  as  a  gospel  and  a  guide.  There  is  but 
little  doubt  that  some  discreet  and  healthful  limita- 
tions in  illustrating  books,  some  lex  non  sc7Hpta, 
would  lead  to  vastly  good  results  were  they  to  be 
observed.  We  know,  however,  that  in  attempting  to 
formulate  a  public  taste,  or  a  community  of  tastes, 
we  are  encroaching  upon  dangerous  territory.  The 
public  can  never  be  made  arbiter  elegantiaruni  in 
this,  nor,  in  fact,  in  any  department  of  art.  Con- 
noisseurs are  said  to  leave  the  voice  of  fashion 
(an  aggregation  of  public  tastes)  entirely  out  of 
the  question  in  their  estimate  of  art,  and  shape 
their  judgments  upon  their  individual  impressions. 
And  more  especially  in  book-illustrating,  where 
the  right  of  selection  exists,  is  the  illustrators' 
choice  dominated  by  his  ideals  or  his  likes  and  dis- 
likes ;  his  triumphs,  however,  are  proscribed  to  the 
limits  of  existing  material.  None  move  along  a 
beaten  track,  and  yet  none  are  perfectly  free  ;  there 

433 


is  no  exercise  for  the  creative  faculty,  no  oppor- 
tunity of  interpreting-  the  author's  perceptions  in 
images  of  their  own  invention.  They  are  limited 
by  contingents,  and  their  performance  is  largely 
mechanical  under  the  old  system.  In  the  new  and 
coming  method,  the  aquarelle,  the  entire  field  is 
open  to  the  genius  of  the  artist-illustrator. 

It  is  fashionable  to  illustrate  Walton's  "Angler," 
"  Dibdin,"  Ireland's  *' History  of  the  Stage,"  Do- 
ran's  "Annals,"  "  Nell  Gwynne,"  "  Bards  and 
Reviewers,"  and  a  few  other  amiable  books.  We 
find  one  or  more  of  them  in  nearly  every  collection. 
But  were  we  to  enter  a  charge  of  duplicity,  we 
would  be  confronted  by  the  reply  of  the  apologist 
that,  notwithstanding  their  being  fashionable,  there 
are  no  duplicates,  no  two  are  alike,  each  is  unique, 
and  in  their  dilettantism  they  represent  every 
gradation  from  the  infinitely  great  to  the  infinites- 
imally  small.  In  the  construction  of  a  house  it  is 
not  the  bricks  but  the  disposal  of  them  which  de- 
termines its  size  and  architecture. 

Up  to  the  present  our  essay  has  been  little  else 
than  a  series  of  interrogatories,  but  we  have  no 
doubt  many  of  these  questions  will  suggest  or  be 
provocative  of  subjective  answers. 

Of  those  bibliophiles  whose  aim  has  been  to 
illustrate  books  artistically,  not  necessarily  books 
on   art,   and  who   have    invested  thousands  upon 

434 


thousands  of  dollars  in  such  works,  we  would  ask, 
Are  you  entirely  satisfied  with  your  creations? 
There  is  too  much  money  absorbed  in  this  pas- 
time for  us  who  have  rendered  ourselves  culpable 
to  ignore  this  question,  or  to  be  entirely  indifferent 
about  it.  We  know  that  the  public  has  nothing 
whatever  to  do  in  the  matter ;  nor  are  we  talking 
to  the  public.  Has  not  this  diversion  had  too  wide 
a  range  ?  and  have  we  not  all  had  regrets  for  work 
overdone?  and  would  we  not  find  comfort  in  health- 
ful rules  and  wholesome  restraints  ?  But  even  were 
we  to  admit  that  such  restraints  might  prove  salu- 
tary, we  must  confess  our  inability  to  lay  down  or 
suggest  any  general  rules  to  which  we  could  grace- 
fully conform,  and  under  such  circumstances  we 
certainly  cannot  expect  our  rules  to  commend 
themselves  to  others.  No  Rubicon  would  restrain 
us  from  a  tempting  conquest.  The  limitations  of 
good  sense,  which  impliedly  embraces  the  "length- 
of-purse  problem,"  seem  to  be  the  best  and  in  fact 
the  only  criteria  for  our  guide  in  the  matter;  but 
this  is  a  more  potent  monitor  with  some  than 
with  others.  There  are  few  indeed,  however,  whose 
prudence  has  not  been  beguiled  by  their  idolatry, 
which  has  led  them  into  transgressions. 

Unrestricted  means  and  an  ambition  not  to  be 
excelled,  or  rather  to  excel,  have  no  doubt  tempted 
illustrators  into  many  conscious  extravagances.    In 

435 


truth,  some  have  confessed  to  us  that  they  have 
permitted  their  enthusiasm  to  carry  them  beyond 
the  realms  of  discretion,  and  some  of  their  produc- 
tions testify  to  its  truth.  Their  illustrated  books 
carry  so  many  prints  that  a  beautiful  text  is  entirely 
lost  sieht  of  in  the  wilderness  of  illustration.  Litera- 
ture  and  art  should  go  hand  in  hand;  they  have  a 
kindred  mission,  and  it  may  safely  be  affirmed  that 
art  never  flourished  in  an  illiterate  age.  There- 
fore, all  true  art  and  literature  should  appear  as 
auxiliaries  to  each  other;  pictures  link  themselves 
to  history,  tradition,  and  human  character  in  a 
manner  which  indefinitely  enhances  their  sugges- 
tiveness.  No  book  was  ever  yet  written  which  is 
so  self-rendering  that  it  may  not  be  invested  with 
new  qualities  or  brightened  with  a  renewed  halo 
by  illustration,  either  through  the  mental  process 
of  description,  or  through  the  physical  sense  of 
sight,  by  adorning  it  with  objective  forms.  The 
latter  may  either  be  new  conceptions — creations 
—  or  be  forms  and  images  already  existing.  That 
there  are  many  things  which  happily  fit  and 
mutually  adjust  and  explain  each  other  which 
were  not  coupled  together  before,  is  a  matter  of 
every  day's  experience.  We  have  heretofore  re- 
garded this  subject  from  one  point  of  view  only, 
that  of  book-illustrating.  In  a  properly  illustrated 
book  the  print  is  no  greater  expounder  or  illustra- 

436 


tor  of  the  text  than  the  text  is  of  the  print.  The 
acquisition  to  each  and  their  relations  should  be 
mutual,  and  a  print  which  does  not  perform  this 
service  is  an  encumbrance  and  ought  to  be  left  out. 
Sometimes  a  print  not  relative  to  the  text  may 
render  an  important  service  in  explaining  another 
print  which  is ;  its  insertion  in  such  a  case  may  be 
justifiable.  Hence  the  duplication  of  the  portrait 
of  the  subject  of  a  biography  is  deemed  highly 
proper.  We  do  not  mean  to  be  understood  to  say 
that  a  book  ought  to  be  illustrated  according  to 
heartless  rules,  regardless  of  art  or  emotion ;  on  the 
contrary,  these  are  the  highest  attributes  of  an 
extra-illustrated  book,  without  which  it  is  a  mere 
corpus  sine  pcctore. 

It  will  be  seen  that  the  proper  illustration  of  a 
book  is  more  than  knowing  where  and  how  to  pur- 
chase prints, — more  than  being  able  to  distinguish 
a  good  from  a  poor  engraving, — more  than  arrang- 
ing them  to  the  page  in  the  book.  These  qualities 
do  not  constitute  an  illustrator :  there  must  be  a 
proficiency  in  history  and  chronology,  an  excep- 
tional memory,  an  originality  and  an  activity  of 
observation,  not  attained  by  every  one.^ 

1  If  the  private  illustrator  will  give  a  little  careful  attention  and  study  to 
his  work,  he  will  not  be  long  in  making  the  discovery  that  plates  executed  at 
certain  periods  are  superior  to  those  of  others,  and  he  will  learn  to  select 
discreetly.  He  will  find  that  the  prints  in  Durovery's  edition  of  "  Pope," 
1801,  on  large  paper,  Fuseli  and  Stothard  engraved  by  Bartolozzi,  are 
much  superior  to  any  subsequent  editions.     Also  Sharpe's  edition  to  the 

437 


Private  illustrating  is  an  amiable  and  innocent 
diversion,  but  its  highest  attainments  belong  to  cul- 
tivated and  disciplined  minds.  The  individual 
character  of  the  illustrator  makes  itself  felt  in  an 
artistically  devised  book;  no  thing  can  be  truly 
artistic  which  is  a  servile  copy  of  something  else; 
every  properly  illustrated  book  must  possess  a 
certain  degree  of  originality. 

In  a  history  or  biography  published  with  prints, 
the  illustrations  are  considered  important  adjuncts, 
and  may  be  made  to  save  a  vast  amount  of  textual 
demonstration,  but  never  to  so  great  an  extent  as  by 
prints  introduced  from  without;  for  where  the  prints 
and  text  have  widely  separate  origins,  and  are  for 
the  first  time  brought  together  and  found  to  be  in  his- 
torical harmony,  there  is  a  demonstration  in  which 
we  have  a  concurrence  of  two  witnesses  between 
whom  there  is  no  possible  collusion  ;  the  former 
case  of  published  illustrations  with  the  text  presents 
two  phases  of  the  same  testimony.  Hence  the 
great  advantage  of  introduced  prints.  Illustration 
may  or  may  not  prove  a  doubtful  point  in  history, 
but  it  will  always  throw  light  upon  an  obscure  one. 

"  Classics,"  1803,  with  plates  engraved  by  Bromley,  Raimbach,  and  Warren; 
Parker  and  Sharpe's  prints  to  the  "Spectator";  Mr.  Warren's  illustrations, 
after  Smirke,  to  the  "  Heiress  "  in  Inchbald's  Theatre;  his  plates  for  Forster's 
"Arabian  Nights,"  1802,  also  after  Smirke;  Ulysses  and  Penelope's  "Suit- 
ors," after  R.  Cook;  Wilkie's  "Broken  Jar";  also  Raimbach's  prints  in 
Suttaby's  edition  of  the  "  Spectator,"  after  Stothard.  There  is  a  marvelously 
beautiful  set  of  fifty-two  prints  in  De  B6ranger, "  Qiuvres,"  1847,  by  Johannot, 
Daubigny,  Charlet,  de  I^eurud,  Parquet,  Pinguilly,  and  Raffet. 


In  a  privately  illustrated  "American  History"  which 
we  were  examining,  the  text  described  a  Battle  of 
Bunker  Hill;  a  contemporaneous  inserted  print  on 
the  opposite  page  called  it  "  Breed's  Hill."  This 
revives  an  old  dispute. 

The  premature  interment  of  the  text  of  a  valu- 
able literary  work  in  a  mass  of  prints  and  autographs 
many  of  which  are  only  remotely  related  to  the  sub- 
ject-matter is  no  confirmation  of  the  mutual  rela- 
tions here  spoken  of.  The  literature  of  a  book,  the 
basis  of  its  reputation  originally,  without  which  it 
would  never  have  been  selected  for  illustration,  is 
undoubtedly  much  improved  and  beautified  by  the 
insertion  of  a  few  judiciously  selected  portraits  and 
views.  But  when  the  work  is  reduced  to  a  mere 
coefficient,  an  accessory,  and  the  individuality  of  its 
unshorn  margins  entirely  swallowed  up  by  a  mass 
of  illustrations,  the  illustrator,  to  say  the  least,  we 
think  has  transcended  his  true  province. 

Rousseau  held  to  a  doctrine  "that  disfigurement 
and  distortion  were  in  compliance  with  the  laws  of 
modern  fashion,  and  were  the  genuine  fruits  of  civ- 
ilization"—  a  doctrine  which  we  believe  is  demon- 
strably sound.  There  are  many  books  described 
in  this  volume  from  which  we  cannot  withhold  our 
commendations  as  beautiful  creations,  but  which, 
from  our  point  of  view,  have  lost  their  identity  as 
literary  works  amid  a  profusion  of  prints  and  illus- 

439 


trations,  and  are  no  longer  to  be  admired  as  literary 
productions,  but  simply  as  receptacles  for  prints  and 
autographs.  "  I  do  not  believe,"  says  Charles  E. 
Banks,  M.  D.,  of  Vineyard  Haven,  Mass.,  "in  mak- 
ing a  picture  scrap-book  of  my  volumes.  My  pur- 
pose is  to  illustrate  the  text  of  the  work  in  hand  as 
the  author  would  do  if  the  public  would  sustain  the 
added  expense.  I  confine  my  portraits  to  persons 
contemporary  with  the  period.  For  example:  in 
my  '  Life  of  Longfellow,'  I  would  not  put  in  Plato 
or  Shakespeare  because  I  happened  to  see  those 
names  in  the  text,  perhaps  in  a  foot-note,  because 
they  would  be  violently  anachronistic  with  the  sub- 
ject. I  can  put  Plato  and  Shakespeare  in  books 
where  they  are  more  appropriate.  I  endeavor  to 
have  the  added  illustrations  harmonious  with  the 
subject-matter,  and  hence  have  not  made  my  books 
a  clothes-line  to  hang  anything  and  everything 
upon  that  happens  in  the  text.  In  the  emulation 
among  extra-illustrators  to  produce  books  with  a 
greater  number  of  pictures  than  the  other  fellow, 
the  most  absurd  paradoxes  in  time  and  subject  are 
the  result.  I  remember  seeing  an  elegantly  bound 
copy  of  a  '  Life  of  Andre '  crowded  with  portraits 
of  persons  in  every  age  of  the  world's  history,  be- 
ginning with  Adam  and  Eve.  Some  trivial  allusion 
to  the  Garden  of  Eden  was  responsible  for  this 
farcical  perversion  of  the  extra-illustrating." 

440 


We  except  from  this  criticism  all  historical  books 
and  many  works  on  biography  where  the  massing 
is  putting  in  convenient  form,  for  preservation 
only,  materials  which  otherwise  would  likely  be- 
come scattered  and  lost.  In  all  such  cases  the 
massing  is  not  only  pardonable,  but  commendable. 
In  history  every  scrap  should  be  preserved.  We 
would  here  refer  to  the  vast  amount  of  historical 
material  preserved  by  Dr.  Emmet  in  his  "  Book  of 
the  Signers,"  and  in  the  local  histories  of  Mr. 
Dreer,  Mr.  Andrews,  Mr.  Moreau,  Dr.  Koecker, 
Mr.  Stauffer,  and  others,  many  of  the  illustrated 
books  of  these  gentlemen  being  of  the  greatest 
interest  and  historical  consequence. 

A  book  other  than  historical,  and,  indeed,  a  his- 
torical work  illustrated  for  use  (we  do  not  mean 
in  the  sense  in  which  we  would  use  a  directory), 
should  not,  under  any  circumstances,  contain  prints 
more  frequently  than  to  alternate  with  the  leaves, 
and  for  the  great  majority  of  books  this  would  be 
considered  overloading.  But  with  many  of  the  im- 
mense folios  placed  before  us,  we  turn  over  leaf 
after  leaf  of  prints  and  autographs,  with  here  and 
there  a  stray  and  modestly  retiring  page  of  text; 
all  idea  of  the  literary  work  is  lost,  and  any  merit 
which  it  may  possess  as  a  literary  production  is 
gone.  It  has  a  reputation  foisted  upon  it  by  the 
illustrations  alone.     This  is  not  commendable;   no 

441 


one  cares  to  illustrate  a  book  which  has  no  literary 
reputation.  To  do  so  is  indicative  of  an  absence 
of  literary  culture.  Then  why  bury  the  work  ? 
We  have  a  vast  amount  of  blessed  association 
bound  up  modestly  in  little  twelvemos.  What  a 
number  of  old  friends  and  pleasant  associations  are 
resurrected  in  the  recontemplation  of  them  !  The 
solicitude  in  the  purchase  of  prints,  the  thorough- 
ness with  which  we  canvassed  every  phase,  com- 
plexion, and  chronology  of  the  text,  and  our  de- 
light on  finding  a  little  gem,  unknown  to  us  before, 
in  some  out-of-the-way  corner  of  the  print-shop, 
which  exactly  filled  a  want  in  our  work!  We  have 
become  a  Columbus !  These  little  books  are  ac- 
cessible, portable.  Put  them  in  plush  covers  if 
you  please;  it  is  a  proof  that  you  love  them.  But 
don't  build  them  up  beyond  identification  to  accom- 
modate four  or  five  grand  old  mezzotints,  elegant 
though  they  be,  which  would  more  gracefully  adorn 
a  portfolio.  Such  a  book  is  like  an  uncultivated 
garden  full  of  beautiful  plants;  many  of  the  smaller 
and  equally  beautiful  are  overgrown  and  lost  sight 
of  amid  the  rank  grrowth  of  the  larger  ones,  and 
thus  one  half  of  the  beautiful  effect  is  lost  which 
might  have  been  preserved  by  the  arrangement  of 
each  in  its  proper  department. 

Edmund  Burke,  in  his  "Sublime  and  Beautiful," 
supports  the  opinion  that  smallness  is  necessary  to 

442 


beauty  in  many  things,  by  citing  the  diminutive 
epithets  applied  in  all  languages  to  objects.  "  'A 
great  beautiful  thing,'  "  he  observes,  "  is  a  manner  of 
expression  scarcely  ever  used,  but  that  of  '  a  great 
ugly  thing'  is  very  common.  Also  the  expression 
'  a  pretty  little  thing.'  Its  attribute  of  beauty 
seems  dependent  upon  the  qualifying  adjective 
little."  His  first  rule  for  determining  the  beautiful 
was  "comparative  smallness."  This  rule,  how- 
ever, is  not  without  significant  exceptions.  We  do 
not  expect  to  inaugurate  any  material  revolution 
in  this  art,  which  has  grown  up  without  order  or 
discipline,  and  is  limited  only  to  the  means  and 
tastes  of  its  neophytes ;  but  we  shall  not  fail  to 
convince  the  considerate  man  that  there  are  evils 
great  enough  to  make  reformation  desirable.  We 
know  that  the  men  who  extra-illustrate  books  are 
not  purveyors  to  a  public  taste.  They  cater  only 
to  their  own  —  t7^ahit  sua  que^nque  voluptas;  nor  is 
any  patronage  sought ;  no  products,  no  dividends, 
are  expected  to  flow  from  this  indulgence. 

It  would  be  well  were  all  the  art  pursuits  as 
independent  of  the  dominating  dollar.  We  hate 
patronage;  it  has  stunted  the  growth  of  more 
genius  than  all  other  causes  combined.  The  great- 
est artists  of  the  world  were  held  down  from  the 
absolute  necessity  of  fanning  the  flame  of  patron- 
age, and  courting  the  favor  of  those  by  whom  it 

443 


was  extended.  No  man  ever  became  a  great  artist 
while  courting  patronage.  Reynolds,  West,  Law- 
rence, Opie,  Jackson,  and  a  host  of  our  modern 
artists  blossomed  into  greatness  only  when  they 
had  reached  a  point  in  which  they  could  defy  pub- 
lic opinion.  A  popular  artist  is  no  artist  at  all. 
Now,  privately  illustrating  books  —  call  it  art,  art 
processes,  or  what  you  please — comes  under  the 
same  domain.  The  illustrator  devotes  himself  to 
this  pursuit  solely  for  his  own  pleasure,  and  many 
are  averse  to  any  publicity  whatever,  having  no 
care  for  rituals  or  popular  tastes,  consequently  the 
diversity  of  methods,  the  many  princely  books,  and 
frequent  monstrosities.  When  Nero  ordered  his 
portrait  painted  on  a  canvas  forty  feet  long,  the 
artists  demurred  ;  but  Nero  was  inexorable,  and 
the  work  was  finished.  There  are  some  Neros 
among  private  illustrators. 

And  again,  many  illustrated  books,  large  and 
small,  are  so  intensely  representative  of  individual 
taste  that  hundreds  of  them  are  being  broken  up 
after  the  death  of  the  original  owner,  to  be  worked 
into  new  fabrics  ;  and  as  prints  become  scarcer  this 
will  be  more  practised.  We  know  of  some  old 
books  which  have  already  been  dismembered,  and 
the  material  taken  to  embellish  other  favorites. 
We  have  a  friend  who  had  succeeded,  against  our 
judgment,    advice,    and    experience,    in   making   a 

444 


very  beautiful  book  of  the  1838-41  edition  of  that 
"literary  mosaic,"  Laurence  Sterne's  "Sentimen- 
tal Journey."  Goldsmith  says,  "  He  is  a  dull  dog," 
and  Thackeray  did  everlastmgly  take  that  "Jour- 
ney" to  pieces  in  a  good-humored  criticism  and 
dissection,  concerning  which  many  less  demon- 
strative critics  signified  their  approval  in  the  lan- 
guage of  the  ghost  to  Hamlet,  "That 's  me" !  This 
expression  stands  on  the  authority  and  ipsissima 
verba  of  Dean  Alford,  that  "That  's  grammar." 

But  my  friend  was  proud  of  his  success,  and 
justly,  for  it  is  a  stubborn  book  to  illustrate,  and 
he  was  ceaselessly  glorifying  its  merits.  It  was 
just  completed  and  bound  when  that  pretty  quarto 
illustrated  edition  from  Maurice  Leloir  of  1884,  by 
J.  W.  Bouton,  came  out.  Soon  after  we  heard  him 
express  regrets  that  he  had  not  waited  for  the  new 
edition,  it  was  so  much  better  than  his.  We  knew 
the  fate  of  the  book  was  sealed  when  he  expressed 
his  dissatisfaction.  A  month  later,  and  his  first  love 
was  in  fragments ;  he  had  purchased  the  new  edi- 
tion, which  contains  twelve  full-page  illustrations, 
in  photogravure,  by  the  Goupil  process,  and  a 
great  many  sketches  throughout  the  text  by  Leloir, 
and  had  broken  up  the  old  one,  which  had  cost  him 
probably  six  hundred  dollars,  to  illustrate  the  new 
and  more  beautiful  edition.  But  this  is  man's  com- 
mon weakness.      Cicero,  the  great  Roman  orator, 

445 


professed  the  greatest  affection  for  his  wife  Teren- 
tia.  When  in  exile  he  pronounced  her  mea  lux, 
mea  vita,  mea  desideria,  fidelissima  et  optima  con- 
JMX.  Shortly  afterward,  however,  he  repudiated 
his  light  and  his  life  for  a  younger  and  a  richer 
woman ! 

Of  all  this  we  have  no  right  to  complain,  except 
that  these  magnificent  prints,  which  are  becoming 
scarcer  every  day,  are  being  destroyed  by  a  pro- 
cess intended  for  their  preservation. 

We  have  had  many  questions  proposed  to  us 
concerning  the  proper  books  and  the  methods  for 
illustrating  and  binding  them.  These  questions 
have  been  too  numerous  and  varied  to  be  answered 
in  detail ;  a  pretty  general  idea  may  be  obtained 
of  the  current  fashion  by  consulting  the  foregoing 
pages,  and  then  selecting  according  to  one's  own 
taste.     You  will  find  no  illustrated  books  on  logic. 

We  shall  speak  of  the  What  and  How  of  books, 
pictures,  and  bindings  as  consort  questions,  and 
not  distribute  them  under  different  heads.  First, 
however,  we  should  say  that,  of  literature  of  the 
class  historical,  our  proneness  is  strongly  toward 
biography  for  illustrating.  But  something  ought 
to  be  considered  here  besides  merely  putting  por- 
traits in  a  book  which  purports  to  be  a  biography. 
In  the  first  place,  select  your  book  with  the  same 
scrupulous  nicety  that  you  do  your  portraits.     Let 

446 


the  book  you  purpose  illustrating  have  a  literary, 
historical,  and  moral  character  worthy  of  your 
labor  —  the  life  of  a  true  vertebrate,  one  which  has 
asserted  and  maintained  its  raison  d'etre. 

James  Smithson,  of  Smithsonian  fame,  was  the 
illegitimate  son  of  the  Duke  of  Northumberland 
and  Elizabeth,  niece  of  the  Duke  of  Somerset. 
After  his  death  the  following  scrap  was  found 
among  his  papers:  "The  best  blood  of  England 
flows  in  my  veins  —  on  my  father's  side  I  am  a 
Northumberlander,  on  my  mother's  I  am  related 
to  kings,  but  all  this  has  availed  me  nothing,  and 
I  am  determined  that  my  name  shall  live  in  the 
memory  of  man  when  the  titles  of  the  Northumber- 
lands  and  the  Percys  are  extinct  or  forgotten." 
Here  is  an  entire  biography. 

Trifling  things  sometimes  destroy  a  biography. 
Sydney  Smith  says:  "The  Iliad  would  never  have 
reached  our  times  if  Agamemnon  had  boxed  Achil- 
les' ear.  We  should  have  trembled  for  the  ^neid 
if  any  Tyrlan  nobleman  had  kicked  the  pious 
yEneas  in  the  fourth  rib,  as  he  richly  deserved ; 
but  then  he  could  never  have  founded  the  Roman 
Empire  after  so  humiliating  an  encounter." 

We  do  not  mean  to  select  biographies  which 
are  stainless,  sans  pair  et  sans  reproche ;  there  are 
none  such  in  real  life;  they  exist  only  in  books — en- 
tombed in  past  literature,  like  the  mastodon  and  dodo 

447 


of  geological  periods,  which  occur  only  as  fossils. 
You  want  the  lives  of  great  men  —  that  is,  men 
who  are  great  in  business  or  professional  life ;  who 
have  been  great  all  through  their  lives,  not  spas- 
modically and  hysterically,  but  all  along  the  line, 
and  who  have  risen  to  such  a  standard  of  excel- 
lence that  their  example  is  considered  worthy  of 
emulation  and  perpetuation.  Even  in  such  you  will 
find  recorded  many  weaknesses.  A  biography  re- 
lating no  human  frailties  is  an  unreliable  history. 

But  there  is  another  class  of  great  men  who  are 
great  only  in  times  when  there  is  something  great 
to  be  done ;  men  who  live  in  the  vortex  of  revolu- 
tion and  ride  the  whirlwind ;  men  whose  achieve- 
ments have  shaken  the  world  and  oppressed  whole 
nations.  But  then  all  great  accomplishments  op- 
press somebody.  The  great  general  who  won 
peace  for  a  nation  trampled  hamlets  mercilessly 
under  his  feet.  All  of  these  are  phases  of  biog- 
raphy for  illustration. 

This  is  not  intended  as  a  biographical  essay,  but 
simply  to  be  suggestive  of  elements  which  ought  to 
be  found  in  a  logical  biography.  In  the  extreme 
periods  of  a  nation's  travail  there  are  characters 
which  come  to  the  surface :  persons  of  daring  and 
nerve,  they  obtain  notoriety  by  their  acts  of  vio- 
lence and  bloodshed,  but  being  unable  to  direct 
the  storm,  fall  backward  into  the  vortex.     Many  of 

448 


such  are  worthy  of  perpetuation,  not  of  imitation, 
as  Marat,  Robespierre,  and  Corday ;  they  each 
struggled  for  an  idea,  and  died  for  it,  and  it  may 
have  been  a  worthy  one.  Marat  was  the  apostle 
of  wholesale  murder;  everything  about  the  man 
was  vile  and  repulsive;  yet  even  in  him  was  em- 
blazoned and  shadowed  a  social  system  which  has 
not  yet  been  credited  upon  his  miserable  life. 
Robespierre  affected  elegance ;  Marat,  dirt.  It 
seems  easy  to  pass  upon  a  life  like  that  of  Robes- 
pierre, yet  he  has  seldom  been  understood ;  he 
sought  political  regeneration  for  France.  Char- 
lotte Corday  believed  it  her  mission  to  restore 
peace  to  her  distracted  and  bleeding  France  by 
murdering  Marat ;  the  motive  was  a  holy  one  as  it 
was  tragical ;  she  was  no  less  than  the  grand- 
daughter of  Corneille,  the  father  of  French  tragedy; 
she  was  also  a  model  of  piety,  but  she  could  not 
assassinate  all  the  Marats.  Poor  girl!  twenty  years 
of  age,  she  staked  all  upon  an  idea — on  one  throw 
—  and  lost.  History  has  recognized  these  persons 
as  "  martyrs  to  an  idea,"  and  not  as  common  mur- 
derers. They  were  all  united  in  one  purpose,  to 
disarm  anarchy,  then  reigning  in  France,  and  each 
sought  through  his  own  methods  its  accomplish- 
ment. The  Chicago  anarchists  were  tried  and  con- 
demned as  murderers,  and  all  future  history  will 
affirm  that  judgment. 

449 


We  think  we  make  ourselves  understood.  There 
are  some  lives,  extending  over  the  "threescore 
years  and  ten,"  where  nothing  has  transpired  out 
of  which  to  construct  a  biography  of  ten  pages ; 
while  there  are  Marats  and  Masaniellos  whose  ten 
days'  rule  of  terror  would  fill  volumes. 

There  are  but  two  classes  of  biography,  gen- 
erally, to  which  illustrators  have  given  constructive 
attention  ;  first,  those  which  mingle  with  and  go  to 
make  up  national  history,  and,  second,  dramatic 
biography.  Notwithstanding  we  have  here  and  in 
earlier  chapters  expressed  our  preference  for  biog- 
raphy, historic  and  artistic,  as  a  medium  for  private 
illustration,  we  do  not  mean  to  advance  the  notion 
that  private  illustrating  should  conserve  no  other 
purpose  than  the  unyielding  processes  of  history, 
art,  and  the  drama.  It  is  an  anomalous  community 
in  which  there  are  no  strata  of  the  humorous,  and 
it  is  a  comfortless  library  in  which  there  are  no 
books  of  anecdote,  A  collection  of  books  to  which 
we  have  had  access  contains,  among  other  things, 
a  privately  illustrated  book  entitled,  "The  Book  of 
Cats :  A  Chit-chat  Chronicle  of  Feline  Facts  and 
Fancies^  Lege7idary  and  Mirthful,''  by  Charles  H. 
Ross.  London,  1868.  The  edition  is  illustrated  by 
the  author,  having  many  woodcut  illustrations 
published  in  the  text  These  are  of  the  most  amus- 
ing and  characteristic  nature.     Besides  these,  there 

450 


have  been  added  ninety-three  prints,  sixty-six  of 
which  are  portraits  of  cats,  and  twenty-seven  are 
views  of  the  drollest  character.  There  are  also 
eighty-nine  pages  of  additional  material  inserted 
in  the  book,  consisting  of  magazine  and  newspaper 
articles  split  and  inlaid,  of  which  one  of  eight  pages 
is  entitled  "Cats";  one  of  twelve  pages,  "About 
Cats";  one  of  nineteen  pages,  "  Cats  of  Antiquity," 
by  J.  W.  De  Forest;  one  of  twenty  pages,  "Mod- 
ern Cats,"  by  the  same  author;  one  of  two  pages, 
"Egyptian  Cats";  one  of  three  pages,  "Extinct 
Cats";  and  some  others.  This  little  work,  the  page 
of  which  is  only  seven  by  four  and  a  half  inches,  has 
been  extended  to  two  stout  volumes.  It  is  a  very 
entertaining  and  humorous  book,  the  whole  expense 
of  which,  for  prints,  splitting,  cleansing,  inlaying, 
and  binding,  probably  will  not  exceed  $  1 1 o.  There 
is  $1000  worth  of  humor  in  it. 

There  is  another  little  book  in  the  same  collec- 
tion to  which  it  may  be  well  to  refer.  It  is  the 
"Complete  Angler,"  etc.,  the  D.  Bogue  edition  of 
1844;  its  size  is  six  and  three  quarter  inches  by 
four  and  a  half  inches,  originally  one  volume,  now 
illustrated  up  to  two  thick  volumes  by  the  insertion 
of  one  hundred  and  eighty  prints,  consisting  of 
amusing  scenes  and  views  of  fishing,  many  of  which 
are  of  the  most  ludicrous  character.  All  the  inserted 
prints  are  caricatures  intended  in  ridicule  of  the 

451 


vast  illustrated  folios  of  Walton's  "Angler,"  which 
require  the  aid  of  machinery  to  examine  them. 
There  are,  besides,  hundreds  of  the  most  beautiful 
prints  of  fishes ;  also  two  sets  of  the  full-page 
prints  by  Absalon,  one  set  very  old  and  quaint. 
The  ejjtire  cost  of  these  jolly  little  volumes,  for 
prints,  cleansing,  splitting,  inlaying,  and.  binding, 
exclusive  of  the  time  spent  in  the  pursuit,  would 
not  exceed  $200.  The  fact  of  so  many  thousand 
dollars  having  been  spent  on  a  single  copy  of 
Walton's  "  Complete  Angler,"  the  circumstances 
of  time,  place,  and  person,  all  contribute  to  make 
this  very  stupid  book  appear  playful  and  humorous. 
It  would  seem  superfluous  to  caution  the  intelli- 
gent illustrator  against  using  humorous  or  satirical 
prints  for  illustrating  serious  subjects,  but  we  have 
seen  so  many  violations  of  good  taste  in  this  respect 
that  we  cannot  refrain  from  referring  to  it  briefly. 
These  prints,  somehow  or  other,  insinuate  them- 
selves in,  when  a  moment's  reflection  would  discard 
them;  for  instance,  in  an  otherwise  beautifully  il- 
lustrated copy  of  the  "  Life  of  Charles  Darwin,"  by 
his  son,  we  saw  an  original  drawing  in  sepia  of  an 
archaic  man  with  a  huge  tail.  It  was  intended  for 
humor,  but  there  was  no  humor  in  it — the  biogra- 
phy of  Charles  Darwin  is  not  a  subject  for  ridicule ; 
the  drawing  was  superb,  and  it  would  have  been 
highly  becoming  to  a  comic  almanac,  but  was  out 

452 


of  place  here,  and  served  no  purpose  other  than  to 
convince  us  on  the  survival  theory  that  some  of  our 
ancestors  had  intellectual,  whatever  may  be  our 
theory  as  to  physical  tails.  We  do  not  mean,  how- 
ever, to  discuss  this  question  here,  for  every  man  has 
a  riofht  to  choose  and  emblazon  on  his  escutcheon 
ears  or  tails  as  armorial  emblems  of  his  ancestors. 
Humor  and  satire  have  their  domain,  Charles 
Lamb  said,  "  Satire  does  not  look  pretty  on  a  tomb- 
stone "  ;  but  we  must  here  say,  to  the  utter  confusion 
of  Lamb's  theory,  and  we  are  fearful  somewhat  dam- 
aging to  ours,  that  a  vast  amount  of  satirical  liter- 
ature is  in  epitaphs.  And,  in  fact,  odd  as  it  may 
seem,  we  know  of  no  greater  depositories  of  humor 
than  churchyards. 

There  is  another  delightful  ("delightful"  fails  to 
convey  the  entire  idea)  little  book  in  this  collection; 
it  is  a  twelvemo,  and  differs  widely  from  the  fore- 
going in  character.  It  is  entitled,  "The  Sylvan  Year: 
Leaves  from  the  Note  Book  of  Raoul  Dubois,"  by 
Philip  Gilbert  Hamerton — vernus,  cEstas,  autumnus, 
hiems.  This  delicate  little  morsel  in  typography, 
published  by  Seeley,  Jackson,  and  Halliday,  Lon- 
don, is  illustrated  by  the  insertion  of  forty-one 
etchings,  of  which  six  are  originals,  by  Hamerton. 
There  are  also  examples  of  Van  Elton,  Richards, 
Parrish,  Piatt,  Smilie,  Hedouin,  and  others ;  also 
etchings  after  Langon,  Rousseau,  Dupre,  Leleux, 

453 


and  others.  These  little  volumes  are  not  introduced 
here  to  parade  the  opulence  of  the  illustrator,  but 
to  suggest  books  for  illustration  which  may  be  "a 
joy  forever,"  at  a  comparatively  small  expense. 
The  harmony  of  the  text  and  etchings  in  this  little 
volume  of  Hamerton  is  such  as  to  meet  the  ap- 
proval of  the  most  fastidious  ;  it  is  sunshine  through- 
out, and  probably  the  entire  cost,  including  binding 
in  full  crushed  levant,  did  not  exceed  forty-five 
dollars.  One  more,  and  we  have  done.  There  is 
another  little  volume,  companion  of  the  above,  by 
the  same  author,  Hamerton,  and  by  the  same  pub- 
lisher, entitled  "Chapters  on  Animals."  This  little 
volume  may  be  illustrated  by  sixty  characteristic 
first-class  etchings.  What  we  mean  by  this  is,  that 
there  are  sixty  first-class  little  etchings  in  the  world 
which  will  illustrate  the  text  of  this  charming  book, 
and  they  can  be  obtained,  but  it  requires  time  and 
research  to  obtain  them.  • 

To  the  multitude  of  inquiries,  as  to  how  to  illustrate 
a  book,  the  most  general  reply  would  be,  "Illus- 
trate the  text."  But  a  more  satisfactory  response 
to  the  great  body  of  querists  will  be  found  in  the 
following  pages.  In  illustrating  a  biography,  it 
would  be  proper  to  insert  the  portrait  of  the  father 
or  mother  of  the  subject,  although  not  specifically 
named  in  the  text.  This  kind  of  license,  however, 
is    dangerous,  and    ought   to   be    indulged    in    as 

454 


seldom  as  possible;  one  transgression  is  certain  to 
beget  others.  In  a  case  where  the  preservation  of 
historical  material  is  the  principal  object,  should 
the  text  refer  to  an  important  committee  without 
naming  the  members,  it  would  be  highly  proper  to 
insert  the  portraits  and  autographs  of  each,  when 
they  are  known  and  obtainable. 

There  is  another  illustrated  little  book,  charming 
of  its  kind,  which  is  illustrated  in  defiance  of  our 
rules;  but  there  is  such  an  evidence  of  consan- 
guinity and  harmony  between  the  prints  and  text 
that  it  is  unobserved.  In  1796  there  was  a  pam- 
phlet published  in  Philadelphia  by  St.  George 
Tucker,  entitled,  "A  Dissertation  on  Slavery,"  etc. 
In  1 86 1  this  pamphlet  was  republished  in  New- 
York  with  large  margins.  I  have  seen  this  book 
illustrated  by  eighty-eight  portraits  of  all  the  noted 
abolitionists  in  the  country,  including  some  rare 
portraits  of  Friends,  as  Elias  Hicks,  Isaac  T. 
Hopper,  John  Treadwell,  Lucretia  Mott,  and  others. 
It  also  contains  the  portraits  of  Fanny  Wright, 
Susan  B.  Anthony,  Anna  Dickinson,  Antoinette 
L.  Brown,  Harriet  Beecher  Stowe,  and  others. 
There  are  seven  portraits  of  Lloyd  Garrison,  sev- 
eral of  Gerrit  Smith,  Wendell  Phillips,  etc.  This 
does  not  seem  to  be  an  illustrated  book  according 
to  the  rule  "  Illustrate  the  text,"  for  none  of  these 
persons  whose  portraits  are  inserted  are  mentioned 

455 


in  the  text.  And  yet  it  may  be  concluded  that  the 
text  of  no  book  was  ever  more  appropriately  illus- 
trated than  this.  We  believe  it  a  proper  recep- 
tacle for  these  portraits.  No  judgment  is  passed 
upon  the  propriety  or  impropriety  of  this  book.  Its 
introduction  here  is  to  provoke  criticism,  and  to 
show  how  futile  are  all  iron-clad  rules  in  illustrating 
books,  when  our  inclinations  are  against  the  rules. 
The  highest-order  and  most  artistically  illustrated 
histories,  however,  are  those  with  uniform  contem- 
poraneous prints  of  subjects  named  in  the  text 
only.  We  know  of  a  volume  of  essays  on  "Por- 
trait Painting  and  Engraving."  It  is  a  royal  octavo, 
lo^  by  7%^  inches,  which  is  illustrated  by  one 
hundred  and  ten  portraits,  every  one  of  which  is  in 
perfect  condition ;  many  are  proof  and  on  India 
paper.  The  engraved  portraits  of  the  painters 
inserted  in  this  book  are  from  the  identical  paint- 
ings and  engravings  named  in  the  essay.  The  bet- 
ter to  illustrate  our  meaning:  the  text  refers  to  a 
portrait  of  Isaac  Oliver,  the  artist,  painted  by  him- 
self and  engraved  by  Miller.  The  text  is  illus- 
trated by  the  original  print  of  Miller  from  Oliver's 
painting.  Again,  the  text  speaks  of  a  portrait  of 
Miss  Kitty  Fisher,  painted  by  Joshua  Reynolds 
and  engraved  in  mezzotint  by  Watson.  The  por- 
trait by  which  this  reference  is  illustrated  is  from 
the  original  plate  by  Watson,  and  the  book  also  con- 

456 


tains  a  contemporaneous  print  by  Reynolds,  and 
also  one  of  Watson,  the  engraver. 

No  exception  can  be  taken  to  this  method  of 
illustrating.  It  is  a  full  exemplification  of  the 
mutual  relation  between  text  and  print  heretofore 
spoken  of,  where  the  text  is  as  illustrative  of  the 
print  as  the  print  is  of  the  text.  This  is  the  best 
illustrated  book  that  we  have  ever  seen.  There 
are  no  folded  or  cut-down  prints ;  they  all  fit  as 
perfectly  as  if  engraved  for  the  book. 

Had  we  six  hundred  engraved  portraits  of  Bona- 
parte, all  different,  we  should  use  them  in  exclusion 
of  all  other  prints  in  illustrating  his  life,  with  the 
addition,  maybe,  of  a  few  of  his  immediate  family, 
the  latter  of  which  we  would  in  no  case  duplicate ; 
and  if  the  list  consisted  of  large  and  small  prints, 
we  should  illustrate  separate  copies  —  we  would 
never  build  a  small  sixteenmo  print  up  to  a  quarto 
book.  If  we  had  a  large  general  collection  of  por- 
traits, views,  and  autographs  for  the  illustration  of 
"  The  Life  of  Bonaparte,"  we  should  illustrate  sepa- 
rate copies  of  the  work,  or  other  works,  one  with 
political  portraits  and  views,  and  another  with  those 
pertaining  to  matters  military.  We  do  not  mean 
rigidly  to  adhere  to  this  division  alone,  but  to  some 
such  convenient  disposal  to  avoid  overcrowding  the 
work.  We  know  an  illustrated  work  one  copy  of 
which   is  illustrated   entirely  with  European   por- 

457 


traits,  another  entirely  with  American,  and  another 
with  autographs.  They  are  beautiful  books,  and 
easy  to  handle.  The  only  designation  of  the  vol- 
umes on  the  outside  are  the  words  "European," 
"American,"  etc.,  printed  by  the  binder  at  the 
bottom  of  the  back. 

There  are  many  extremely  valuable  and  inter- 
esting books  illustrated  entirely  by  additions  made 
in  the  text,  consisting  of  valuable  articles  from 
magazines,  newspapers,  or  in  manuscript.  The 
best  possible  manner  of  doing  this,  if  the  matter 
is  in  print,  is  to  have  it  split  and  inlaid  to  the  page. 
If  it  consist  of  manuscript,  have  it  printed  to  con- 
form to  the  page  of  the  book,  unless  the  matter 
consists  of  more  than  twenty  pages,  in  which  event 
it  would  be  advisable  to  leave  it  out  altogether, 
except,  of  course,  where  it  is  of  very  great  signifi- 
cance. These  inserted  pages  many  times  will  per- 
mit the  introduction  of  additional  and  very  desirable 
prints ;  it  is  a  subterfuge  which  may  be  very  clev- 
erly resorted  to  for  the  purpose  of  securing  a 
favorite   portrait  for  a  book. 

Dr.  Emmet  and  Mr.  Augustin  Daly  have  added 
materially  to  some  of  their  great  works  through 
this  means  ;  but  whether  it  was  resorted  to  for  the 
purpose  of  making  additional  portraits  available,  we 
do  not  know.  Some  of  their  most  valuable  historic 
and  dramatic  matter  has  been  specially  printed  for 

458 


them  at  enormous  cost.  The  addition  of  printed 
or  manuscript  material  has  a  wonderful  fascina- 
tion for  us,  and  we  have  spoiled  many  a  book  by 
the  insertion  of  our  gush. 

A  court  scandal  of  the  Elizabethan  reign,  which 
we  were  enabled  to  insert  in  "  Fragmenta  Regalia, 
or  Memoirs  of  Elizabeth," — the  celebrated  kiss 
which  the  Oueen  g;ave  to  one  of  her  lovers,  the 
toad  P^vi]o\x, — was  a  little  flirtation  which  cost  Great 
Britain  a  hundred  thousand  pounds  and  enabled  us 
to  add  twenty  prints  to  the  book. 

There  is  still  another  unique  little  book  not  men- 
tioned elsewhere  in  these  pages,  which,  as  an  ex- 
ceptional book  and  one  of  great  merit,  ought  to  be 
referred  to  here.  It  is  the  "  Vestiges  of  the  Natural 
History  of  Creation,"  the  fifth  London  edition  of 
1846.^  It  was  illustrated  by  Professor  R.  T.  Howe, 
formerly  of  Brooklyn,  and  it  was  the  only  book 
ever  illustrated  by  him.  He  devoted  a  great  deal 
of  time  and  much  money  to  this  book.  It  was 
extended  to  four  stout  volumes  by  the  insertion 
of  many  original  drawings  in  black  and  white  of 
natural-history  subjects,  with  the  portrait  of  every 
scientific  man  mentioned  in  the  book,  some  maps, 
and  over  two  volumes  of  additional  matter.  In 
all  our  experience  with  illustrated  books  none  ever 

IThe  first  edition  was  anonymously  published  in  1844.  Darwin's  "Origin 
of  Species  "  appeared  in  1859.  They  met  a  similar  reception  from  the  religious 
world,  although  a  vast  advance  had  taken  place  in  the  mean  time. 

459 


took  so  firm  a  hold  on  our  affections  as  this  de- 
lightful set.  A  short  sketch  of  this  most  eventful 
book  may  be  interesting  to  the  reader.  About 
forty-five  years  ago  this  little  unpretentious  vol- 
ume made  its  anonymous  advent  in  England.  It 
came  unheralded ;  it  simply  floated  out  upon  the 
literary  ocean  with  no  effort  to  create,  and  an 
apparent  indifference  as  to  public  opinion  or  pat- 
ronage. No  precaution  was  taken  to  secure  its 
perpetuity ;  it  bore  no  evidence  of  patrician  par- 
entage ;  it  was  printed  on  common  paper  (first 
edition),  with  common  type,  and  was  still  more 
commonly  bound.  It  was  to  all  appearances  a 
literary  ephemeron.  Its  author,  Robert  Cham- 
bers, was  a  man  of  great  culture  and  an  advanced 
thinker;  he  seemed  to  say  to  his  little  work,  "In 
your  creation  I  have  discharged  an  obligation  to 
my  species.  Go  you ;  your  career  is  a  contin- 
gent one :  if  the  world  is  ready  for  your  incar- 
nation, it  will  hail  with  gladness  your  advent;  if 
not,  you  perish."  Immediately  on  its  appearance, 
it  was  considered  a  creature  worthy  of  criticism, 
and  drew  fire  from  high  sources.  Three  of  the 
most  potent  literary  and  scientific  journals  of  the 
world  —  "The  Edinburgh,"  "North  British,"  and 
"British  Quarterly"  Reviews — opened  upon  it, 
but  not  with  that  courteous  respect  and  "  pride 
which    warriors    feel    in    foemen    worthy    of  their 

460 


steel."  The  attack  meant  death  —  a  belluni  inter- 
7iecmum ;  they  occupied  and  intrenched  them- 
selves upon  every  vantage-ground,  and  extended  to 
it  no  courtesy,  no  quarter.  The  "  North  British 
Review  "  charged  the  author  with  having  expelled 
the  Almighty  from  the  universe  he  had  made. 
"Bentley's  Magazine"  declared  it  to  have  been 
written  in  order  to  determine  how  many  fools  there 
were  in  the  kingdom,  and  promised  it  an  early 
death.  It  was  attacked  with  scoffs,  jeers,  and 
anathemas  from  hundreds  of  thousands  of  assail- 
ants. It  was  most  unsparingly  belabored  and  con- 
temned by  the  press  and  the  pulpit.  But  the  little 
book  lived  on  ;  edition  after  edition  was  hurried 
through  the  press  with  a  continually  increasing 
popularity.  It  was  reproduced  in  many  of  the 
European  languages,  and  reached,  we  believe,  in 
three  years,  thirty-four  editions.  No  toleration 
was  allowed  it  in  the  schools,  but  it  was  clan- 
destinely read  and  applauded  by  the  hard-headed 
students  in  most  of  the  colleges  of  Great  Britain 
and  the  United  States.  In  short,  no  book  ever 
published  more  completely  revolutionized  human 
thought  than  did  this  little  volume,  and  yet  its 
doctrines  were  not  entirely  new  to  scientific  men : 
Lamarck,  Saint  Hilaire,  Buffon,  and  Von  Baer  had 
foreshadowed  it,  and  it  paved  the  way  for  Darwin. 
It  was  the  first  popular  work  that  openly  and  fear- 

461 


lessly  enunciated  the  hypothesis  of  the  development 
of  the  human  species  from  lower  organisms. 

It  is  now  forty  years  or  more  since  the  appear- 
ance of  this  little  book,  and  it  has  been  forgotten, 
but  the  effect  of  its  teachings  is  seen  everywhere, 
and  nowhere  more  marked  than  in  those  reviews 
which  promised  its  immediate  apotheosis.  Scien- 
tists, advanced  thinkers,  pioneers  of  thought,  have 
long  since  left  its  tenets  far  in  the  background.  It 
did  not  begin  with  beginnings.  The  illustrated  ma- 
terial embraces  every  article  from  the  above-named 
reviews  opposing  the  doctrines  of  the  "Vestiges." 

There  is  another  department  in  private  illustrat- 
ing, quite  extensively  practised,  but  which  has  not 
even  been  mentioned  in  the  pages  of  this  mono- 
graph. It  is  illustrating  by  the  insertion  of  the 
title-pages  of  books  mentioned  in  the  text.  In  the 
practice  of  this  extravagance  every  illustration, 
every  title-page  inserted,  stands  for  a  mutilated  vol- 
ume, and  few  are  willing  to  confess  to  this  vandalism 
or  champion  this  field.  But  there  is  no  lack  of  trans- 
gressions; and  in  order  to  make  the  way  for  the 
transgressor  as  easy  as  possible,  we  here  suggest  a 
charming  book  for  this  class  of  illustrating.  It  is 
"The  Philosophy  of  Fiction,"  an  essay  by  Daniel 
Greenleaf  Thompson,  1890.  Of  course  the  works 
mentioned  in  this  book  are  works  of  fiction,  the 
sizes  of  which  are  pretty  generally  about  the  same 

462 


as  Mr.  Thompson's  essay  ;  therefore  the  expense  of 
inlaying  is  happily  avoided. 

This  little  book  proved  too  great  a  temptation 
for  us,  and  we  sinned  ;  we,  however,  shift  our  trans- 
gression to  the  shoulders  of  the  author  who  placed 
the  inviting  temptation  before  us.  It  has  been  ex- 
tended to  two  volumes  by  the  insertion  of  about 
one  hundred  portraits  of  the  most  noted  authors 
known  to  the  literature  of  fiction,  besides  eighty 
title-pages  of  the  first  editions  of  works  of  fiction 
named  in  the  book.  It  is  far  from  being  a  satis- 
factory work,  and  we  do  not  envy  those  who  have 
spent  years  and  thousands  of  dollars  in  the  pursuit. 

Before  we  dismiss  this  subject,  "  How  and  what 
to  illustrate,"  we  would  introduce  a  little  book 
published  by  Sampson,  Low,  and  Marston,  in 
1884.  This  little  book  we  would  recommend  to 
the  novice,  and  indeed  it  may  be  rendered  service- 
able to  the  trained  professional.  It  is  a  worthy 
book,  and  is  entitled,  "An  Historical  and  Practi- 
cal Guide  to  Art  Illustration  in  Connection  with 
Books,  Periodicals,"  etc.,  by  James  Shirley  Hob- 
son,  F.  R.  S.  L.,  London.  The  service  which  this 
book  may  render  is  that  it  may  be  illustrated  with 
specimens  of  all  the  various  methods  of  illustrating.^ 
It  treats  of  line-engraving,  etching,  wood-engrav- 

1  There  are  but  few  valuable  books  on  this  subject,  among  which  is, 
"  Modern  Methods  of  Illustrating  Books,"  by  H.  Trueman  Wood,  M.  A., 
Secretary  to  the  Society  of  Arts.     New-York,  A.  C.  Armstrong  and  Son, 


ing,  lithography,  zincography,  typographic  etching, 
aquatint,  graphotype,  photo-hthography,  albertype, 
heliotype,  photoglyphic,  photogravure,  autotype, 
and  electrotyping  from  wood,  copper,  and  steel. 
We  have  seen  a  copy  of  this  work  illustrated  by 
about  fifty  good  examples  of  these  various  pro- 
cesses or  methods  to  cheapen  illustrating.  It  affords 
an  opportunity  of  studying  these  methods  with  an 
excellent  descriptive  text  at  hand.  A  thorough 
knowledge  of  this  subject  might  save  one  the  mor- 
tification of  the  discovery,  after  a  very  expensive 
book  has  been  completed  and  bound,  that  some 
of  the  most  prized  prints  are  only  reproductions 
of  the  photo-engraving  or  some  other  process  on 
India  paper.  This  brings  a  smile  from  the  con- 
noisseur who  knows  that  he  cannot  be  deceived, 
but  we  are  not  all  connoisseurs,  and  we  advise  him 
to  look  well  to  his  gems.  The  list  of  illustrated 
books  referred  to  in  this  chapter  by  no  means  ex- 
hausts the  catalogue  of  exceptional  books  which 
are  proper  for  illustration.  It  is  merely  sampling 
a  collection. 

As  to  bindings,  we  have  only  to  say,  as  we  said 
of  illustrations.  Please  yourself  But  the  sooner 
you  disabuse  your  minds  of  the  notion  that  bindings 

1887.  This  is  a  delightfully  gotten  up  little  volume,  and  is  full  of  information 
concerning  the  various  modern  processes. 

The  subjects  Wood-Engraving,  Etching,  Lithography,  Chromolithography, 
Photography,  Photo-Printing,  Photo-Engraving,  etc. ,  are  treated  specially,  but 
cannot  be  interesting  to  our  readers. 

464 


are  an  inconsiderable  item  in  book-illustrating,  the 
more  wretchedness    you   will  avoid    in  after   life. 
The  very  best  advice  that  we  could  possibly  give 
the  novice  would  be  to  read  the  chapter  entitled, 
"Bookbinding,"  beginning  at  page  263,   in   "The 
Book:    Its  Printers,  Illustrators,  and  Binders,  from 
Gutenberg     to    the     Present     Time,"    by     Henri 
Bouchot;  to  which  is  added  the  "Art  of  Collecting," 
etc.     Edited  by  H.   Grevel,  London,    1890.     The 
chapter  is  short  and  fully  illustrated,   and  is  con- 
cise, but  contains  all  that  is  necessary  to  be  known 
concerning  early  binders;  and  of  the  nineteenth- 
century  English  and  American  binders  it  refers  to 
Roger  Payne,  Riviere,  Lewis  Bedford,  Matthews, 
Bradstreet,  and  Smith.     When  we  see  a  man  indif- 
ferent about  his  bindings,   we  seldom   take   much 
interest  in  the  material  of  his  library.      It  certainly 
is  not  very  consistent,   to  say  the    least  of  it,   to 
illustrate  a  book  at  an  expense  of  twelve  or  fifteen 
hundred   dollars,    and  economize   in   the    binding. 
The  realm  of  binding,  ancient  or  modern,  we  shall 
not  invade.     This  is  the  domain  of  the  potentates 
of  the  Grolier  Club,^  named  after  one  of  the  most 
remarkable    connoisseurs    of    bindings    that    ever 
lived — Jean    Grolier   de    Servier.       The    Grolier 
Club    of  New-York    revels    in    examples    of  the 
antique  of  Le  Gascon,  Padeloup,  Derome,  Thou- 

1  See  Robert  Hoe's  "Art  of  Bookbinding." 
465 


venin,  Monnier,  Dissenit,  Nicholas  Eve,  Raffet, 
Meux,  Reutte,  Baumgarten,  Kalteeber,  Staget- 
meier,  Walther,  Roger  Payne,  and  can  exhibit  from 
private  collections  some  as  fine  antique  bindings 
as  any  to  be  found  in  Europe.  Grolier's  library 
consisted  of  about  three  thousand  volumes,  and 
when  sold  fetched  on  an  average  six  hundred  dol- 
lars per  volume,  the  value  being  based  upon  the 
bindings.^ 

Mr.  Bernard  Ouaritch  said,  "  As  to  the  past, 
no  doubt  bindings  were  produced  chiefly  for  very 
rich  men,  such  as  kings  and  nobles,  and  for  eccle- 
siastical corporations,  and  from  the  earliest  times 
the  cost  of  the  art  had  been  very  considerable ; 
that  was  the  reason  why  old  bindings,  generally 
speaking,  were  infinitely  superior  to  those  of  the 
present  day ;  some  of  them  cost  hundreds  of  pounds 
of  money.  The  French  binding  from  Grolier's 
time  had  been  very  good,  but  all  the  great  col- 
lectors paid  very  handsomely  for  their  work,  and 
that  was  why  it   survived  now.      If  collectors  of 

1  There  are  many  books  on  Bookbinding,  too  many  to  attempt  a  bibliog- 
raphy of  the  subject  here.  An  enumeration  of  a  few  of  the  most  desirable 
modern  ones  is:  "  La  Reliure  de  Luxe,"  "  Le  Livre  et  I'Amateur,"  par  L. 
Derome.  Illustrations  in^dites  reproduites  d'apres  les  types  originaux,  par 
Aron  Freres,  et  Dessins  de  G.  Fraipont,  C.  Kumer,  M.  Ferret.  Frontispice 
Reliure  peinte  par  J.  Adeline.  Paris,  fidouard  Rouveyre,  editeur,  1881. 
"  La  Reliure  moderne  artistique  et  fantaisiste,"  par  Octave  Uzanne.  Illus- 
trations reproduites  d'apres  les  originaux,  par  P.  Albert  —  Dujardin  et  Dessins 
allegoriques  de  J.  Adeline,  G.  Fraipont,  A.  Giraldon.  Frontispice,  d'Albert 
Lynch,  grave  par  Manesse,  Paris.  Edouard  Rouveyre,  1887.  "  On  Book- 
binding, Ancient  and  Modern."   Edited  by  Joseph  Cundall,  author  of  "  Orna- 

466 


the  present  day  were  equally  liberal,  no  doubt 
artists  would  be  found  in  England  to  equal  any- 
thing in  the  past.  The  reason  why  France  had 
been  so  famous  in  this  matter  was  that  the  French 
nobles  were  a  liberal  body  of  men,  with  artistic 
taste,  such  as  existed  nowhere  in  Europe.  That 
was  why  their  books  commanded  such  a  price  now 
in  France,  where  book-collecting  was  carried  on 
much  more  extensively  than  in  England,  to  say 
nothing  of  Germany,  where  they  only  read  them. 
There  were  still  English  artists,  though  they  had 
not  been  mentioned :  such  as  Riviere  (who,  he  was 
sure,  lost  money  by  some  of  his  work),  and  Zaehns- 
dorf,  and,  above  all,  Francis  Bedford,  whom  he  con- 
sidered the  greatest  artist  in  bookbinding  that 
England  or  any  other  country  ever  had  produced. 
He  could  show  specimens  of  his  work  which  sur- 
passed any  French  binding  he  had  ever  seen, 
except  in  age.  In  the  first  place,  he  paid  higher 
wages  than  any  one  in  London,  and  the  result  was 
that  every  part  of  the  work  was  done  with  a  care 

mental  Art  as  Applied  to  Bookbinding."  London,  George  Bell  and  Sons, 
l88i.  "  The  Book,  its  Printers,  Illustrators  and  Binders,  from  Gutenberg  to 
the  Present  Time,"  by  Henri  Bouchot,  of  the  National  Library,  Paris,  etc. 
Edited  by  H.  Gravel,  London,  1890.  "  Manuel  Historique  et  Bibliographique 
de  I'Amateur  de  Reliures,"  par  Leon  Gruel,  Relieur.  Paris,  Gruel  and 
Engelmann,  1887.  There  is  a  little  book,  by  Zaehnsdorf,  full  of  elegant  infor- 
mation, entitled  "The  Art  of  Bookbinding,"  by  Joseph  Zaehnsdorf.  Illus- 
trated. George  Bell  and  Sons,  London,  1880.  All  of  these  books  are  profusely 
and  elegantly  illustrated ;  they  are  not  extremely  scarce,  although  they  were 
all  limited  editions  except  the  last.  They  may  be  found  in  all  first-class 
public  libraries,  and  in  the  private  libraries  of  most  gentlemen. 

467 


and  accuracy  which  other  men  could  not  afford. 
The  way  in  which  he  bound  old  books  was  mar- 
velous. If  they  saw  old  books  in  the  state  in  which 
they  came  from  a  sale,  they  would  hardly  believe 
it  possible  to  turn  such  wrecks  into  handsome 
books.  Mr.  Bedford  first  pulled  the  book  to  pieces, 
each  leaf  being  treated  separately ;  it  was  then 
dipped  into  size  and  water,  washed  and  dried ;  then 
mended,  and  the  art  of  mending  was  one  of  extreme 
delicacy ;  there  were  not  three  people  in  England 
who  could  mend  a  book  properly.  Then  there 
would  be,  perhaps,  a  word  or  a  letter  missing  here 
and  there,  which  the  facsimilist  had  to  supply ; 
then  the  pages  were  brought  into  line,  some  hav- 
ing a  bit  put  on  the  top  and  some  on  the  bottom, 
which  again  was  a  most  difficult  and  delicate  opera- 
tion ;  then  it  was  carefully  stitched  and  covered, 
and,  lastly,  came  the  gilding  and  lettering.  On 
this  Mr,  Bedford  bestowed  an  immense  amount  of 
care,  which  had  to  be  paid  for.  For  the  last  three 
or  four  years  he  had  been  ill,  and  had  actually 
examined  the  books  and  superintended  his  work- 
men from  a  sick-bed.  He  [Mr.  Quaritch]  had  often 
said  to  him,  '  The  world  can  easily  spare  me,  but  it 
cannot  spare  a  man  like  you ' ;  and  he  thought  it  only 
ripfht  on  such  an  occasion  that  some  honor  should 
be  paid  to  a  man  whom  he  considered  the  first 
bookbinder,  not  only  in  England,  but  in  Europe. 

468 


Mr.  Ouaritch  did  not  think  ^20  too  much  to  pay 
for  a  specimen  of  Trautz-Bauzonnet.  That  artist 
did  nearly  all  the  work  himself,  and  consequently 
could  not  do  very  much,  and  required  a  high  price. 
Mr.  Turner  had  some  books  bound  by  him,  and 
had  to  wait  a  long  time,  and  Baron  James  Roth- 
schild paid  any  price  for  his  bindings.  Capet's 
work  was  nearly  as  good,  and  he  charged  only 
from  £4  to  ^10  for  a  small  volume.  He  recom- 
mended gentlemen  who  had  good  books  to  take 
them  to  a  good  binder,  and  then  they  would  always 
fetch  a  good  price  if  they  came  to  be  sold." 

We  have  heretofore  spoken  of  the  large  sums  of 
money  invested  in  this  pursuit.  We  have  estimated 
that  privately  illustrated  books  in  and  around  New- 
York  City  represent,  approximately  of  course, 
thirteen  millions  of  dollars/     "This  is  a  vast  sum 

1  Stating  this  to  a  friend,  he  thought  our  figures  too  large.  Wishing  to  be 
as  nearly  correct  as  possible,  absolute  correctness  of  course  being  out  of  the 
question,  we  made  a  new  estimate,  taking  up  the  facts  from  another  point  of 
view  and  going  deeper  into  the  detail.  It  seems  that  the  farther  we  descend 
into  particulars  the  higher  it  aggregates.  In  the  first  place,  we  have  entirely 
ignored  all  estimates  made  by  owners  of  illustrated  books  as  to  their  value  — 
their  guesses  are  the  most  fallacious.  From  our  second  and  more  careful  esti- 
mate the  amount  would  seem  to  be  more  nearly  sixteen  than  thirteen  millions. 
Prints,  taken  in  detail,  run  up  enormously.  Very  few  first-class  illustrated 
books  contain  less  than  one  hundred  and  fifty  illustrations,  including  fifty  or 
sixty  autographs,  ten  or  fifteen  sepias  or  water-color  drawings.  The  prints 
are  worth  not  less  than  $i  each  for  India  proofs,  very  many  are  priced  at  $5, 
some  reach  $10,  exceptional  ones  $20,  and  so  up  to  $200.  We  know  an 
illustrated  book,  one  volume,  folio,  extended  to  four,  containing  several  prints 
which  cost  above  $150  each,  and  half  a  hundred  other  illustrations  which  cost 
from  $40  to  $100  each. 

Then,  as  to  autographs,  at  the  Lefhngwell  sale  in  Boston,  a  short  time  since, 
the  kind  of  autographs  with  which  first-class  books  are  illustrated  fetched  each 

469 


of  money,"  said  a  great  railroad  king,  ''to  spend 
on  such  baubles."  It  is,  however,  only  a  trifle  com- 
pared to  the  wealth  of  New-York,  and  a  mere 
bagatelle  compared  to  the  money  spent  every  year 
in  intoxicating  liquors,  out  of  which  there  are  no 
residuary  assets.  We  have  never  known  a  book- 
illustrator  who  did  not  underestimate  the  cost  of  his 
production.  We  asked  of  a  proud  and  wealthy 
owner  of  a  splendid  collection  of  books,  "How  much 
did  this  volume  cost  you?"  holding  a  unique  work 
in  our  hands.  "Well,"  said  he,  "I  don't  know; 
I  never  kept  an  account.  Probably  three  hun- 
dred dollars."  We  hastily  scanned  the  first  hun- 
dred and  ten  pages  of  the  two  hundred  and  twenty 

$700,  $425,  $150,  $120,  $100,  $66,  $51,  $40,  $35,  $21 ;  here  is  an  average  of 
$150  for  autograph  letters  calculated  to  decorate  a  first-class  privately  illus- 
trated book.  Now  we  find  another  class  of  autographs  from  $20  down  to 
$2.50  for  letters  signed  and  simple  autograph  without  letter.  From  these 
facts  and  the  number  of  autographs  named  in  this  volume,  which  do  not  con- 
stitute more  than  two  thirds  of  all  the  autographs  now  in  use  in  privately 
illustrated  books,  and  also  that  the  words  "  and  others  "  constitute  a  notable 
percentage  of  undescribed  material,  we  may  find  that  of  the  thirteen  millions 
three  fifths  of  it  can  be  accounted  for  in  autographs  alone.  These  calculations 
are  made  excluding  from  the  estimate  the  collections  which  have  not  reached 
us  at  all.  There  are  about  five  hundred  illustrators  of  all  grades  who  center 
around  New-York.  Of  course  we  know  nothing  of  the  facilities  individuals 
may  have  for  collecting  prints  and  autographs.  There  is,  no  doubt,  a  vast 
difference  in  their  costs  to  different  individuals.  We  are  estimating  on  their 
market  value  or  what  they  fetch.  At  the  great  Boston  sale  the  average  was 
one  dollar  for  each  item  in  the  collection,  hundreds  of  which  were  valueless 
to  the  high-class  illustrator  and  ought  to  be  thrown  out  in  this  estimate;  this 
would  raise  the  average  to  $21.  According  to  the  prices  at  the  Boston  sale, 
the  average  selling  price  of  the  signaturesof  the  fifty-six  Signers  was  $185.50  ; 
of  these  there  are  said  to  be  seven  complete  sets  and  about  sixty  in  various  states 
of  imperfection  among  private  collectors.  We  have  estimated  that  autograph 
letters  signed  mentioned  in  this  volume  will  reach  an  average  somewhere 
between  $16  and  $25  each. 

470 


of  the  oricrinal  text  which  the  book  contained. 
Our  estimate  was  that  to  break  the  book  up  and 
sell  the  prints  at  retail,  the  material  of  half  the 
book  would  fetch  over  two  hundred  dollars,  and 
this  was  exclusive  of  inlaying,  seventy-five  dollars 
for  binding",  and  all  the  time  engaged  in  collecting. 
The  book  had  probably  cost  one  thousand  dollars, 
the  gradual  disbursement  of  which  extended  maybe 
over  two  or  three  years,  and  consequently  one  ex- 
travagance was  forgotten  before  another  was  com- 
mitted. Every  illustrator  who  has  kept  account 
knows  this  to  be  true,  and  that  is  the  reason  so  few 
have  had  the  courage  to  keep  a  debit  and  credit 
account  of  privately  illustrated  books.^ 

It  has  been  estimated  that  privately  illustrated  books  at  auction  fetch  about 
forty  per  cent,  of  their  cost.  This,  we  think,  is  a  liberal  estimate.  There  are 
more  that  will  not  fetch  twenty-five  per  cent.,  except  books  illustrated  years 
ago,  when  material  was  cheaper;  but  there  may  be  exceptional  cases  where 
they  have  sold  at  a  profit.  We  have  never  heard  of  them  at  auction,  although 
profit  is  no  doubt  realized  at  private  sale.  We  have  a  little  volume,  a  twelvemo, 
illustrated  by  a  speculator.  We  purchased  it  for  the  binding,  which  was 
by  Riviere,  in  Roger  Payne  style ;  it  is  very  pretty  and  is  honestly  bound. 
The  book  has  sixty-two  prints  in  it,  mostly  portraits,  of  that  character  with 
which  every  print-shop  sooner  or  later  becomes  flooded,  or  which  at  auction 
are  knocked  down  at  a  cent  apiece  for  the  lot,  and  if  an  advance  is  made,  it  is  a 
quarter  of  a  cent  at  a  lime.  We  paid  $30  for  the  little  book,  which  is  made 
up  as  follows:  Original  volume,  $2.50;  prints,  $4;  binding,  $12.  Profit  to 
the  speculator,  $11.50 — little  enough  to  ofifset  the  chidings  of  a  conscience, 
if  he  has  one.  This  same  book,  if  properly  illustrated  with  first-class  por- 
traits, such  as  can  be  obtained  with  a  very  little  research,  would  cost  about 
$120.  No  research  was  necessary  to  get  it  up  in  its  present  form;  the  prints 
can  be  found  by  armfuls  in  any  second-rate  print-store. 

Grolier's  library  averaged  at  the  sale  $600  per  volume;  it  was  a  small 
library ;  there  are  over  two  hundred  larger  private  libraries  in  the  city  of  New- 
York.     It  would  require  eight  such  libraries  only  to  fill  the  $13,000,000  bill. 

I  We  shall  make  no  effort  to  demonstrate  the  position  we  havj  taken  con- 
cerning the  amount  of  capital  invested  in  privately  illustrated  books,  although 


Book-illustrating  is  now  sustaining  some  new 
industries  in  New -York,  and  has  given  a  great 
impetus  to  many  old  ones.    It  has  given  rise  to  the 

demonstration  is  within  our  hands,  but  which  we  do  not  feel  at  liberty  to  use. 
We  mean  simply  to  show  the  heretofore  fallacious  methods  of  estimate. 
There  was  a  catalogue  of  a  remarkable  collection  of  extra-illustrated  books 
offered  at  private  sale  by  Mr.  Bouton  in  1869.  We  had  the  good  fortune  to 
see  some  of  these  books.  They  were  described  as  the  collection  of  an 
amateur,  and  were  represented  to  have  been  drawn  from  the  libraries  of 
Renouard,  Cape,  Brunet,  Van  Der  Helle,  M.  le  Marquis  Costa  de  Beaure- 
gard, M.  Gaucia,  Taillandier,  Victor  Luzarche,  and  other  celebrated  collec- 
tors of  Europe.  The  bindings  were  of  the  highest  order,  by  Hardy,  Manuil, 
Cape,  Masson-Debonnelle,  Bauzonnet,  Pettit,  David,  Hayday,  Trautz,  Kal- 
thoeber,  Padeloup,  and  others,  the  most  famous  of  Europe.  All  the  books 
hereafter  mentioned  were  of  the  finest,  large-paper,  de  luxe  and  Japan-paper 
editions.  There  were  less  than  a  thousand  volumes,  the  cost  of  which  was 
stated  at  $50,000;  of  extremely  fine  books,  such  as  we  have  referred  to 
above,  there  were  less  than  three  hundred.  Now  the  extraordinary  fact  at 
which  we  are  aiming  is  the  low  price  at  which  these  books  were  marked, 
averaging  certainly  not  more  than  two  thirds  of  what  they  would  cost  at  that 
time,  and  less  than  twenty-five  per  cent,  of  what  it  would  cost  to  get  up 
similar  books  at  the  present  time.  These  books,  we  believe,  were  purchased 
generally  by  American  connoisseurs,  as  we  find  many  of  them  reappearing  in 
American  collections,  and  they  are  among  some  of  the  finest  books  named  in 
this  monograph.  The  point  aimed  at  here  is  that  estimates  made  on  the 
basis  of  that  priced  catalogue  of  Mr.  Bouton  in  1869  ought  to  be  multiplied 
by  five  for  1892.  We  append  hereto  items  from  this  remarkable  catalogue. 
The  learned  bibliophile  will  identify  many  of  the  books,  and  be  enabled  to 
place  many  of  them  at  the  present  time.  We  believe  it  possible  to  trace  the 
record  of  every  one  of  them. 

Robert  William  EllistOiN's  Memoirs,  by  George  Raymond,  both 
series  1845  ;  2  volumes,  8vo,  extended  to  4  volumes,  royal  quarto  ;  bound  in 
full  green  levant  by  RlvifeRE.  This  was  the  author's  only  copy,  and  was 
illustrated  by  himself  7vith  joo  prints,  mostly  portraits,  in  proof  condition. 
$262.     Not  a  large  margin  above  the  binding  rate  of  this  eminent  artist. 

Memorial  of  St.  Helene,  etc.,  par  Las  Casas ;  2  volumes,  printed  on 
China  paper  throughout,  and  illust^-ated  by  boo  engravings  on  wood  by  Charlet; 
bound  by  Chambolle  Duru.     A  magnificent  specimen  of  binding.     $300. 

La  Pucelle  d'Orleans,  par  Voltaire  ;  2  volumes,  large  paper,  extended 
to  4  volumes  by  the  insertion  of  400  portraits,  61  of  which  7vere  of  Voltaire,  28 
of  Joan  of  Arc,  10  Agnes  Sorel,  28  vignettes  by  Monsiaux  before  letters,  2j  by 
Moreau.  This  was  a  most  extraordinary  work,  thought  to  be  the  finest  ever 
produced  ;  bound  by  David  in  red  polished  levant.     $600. 

472 


printing-  of  the  finest  editions  of  books.  Conse- 
quently American  typography  has  been  greatly 
improved  since  the  era  of  book-illustrating  began. 

Les  Amours  Pastorals  de  Daphnis  et  Chloe,  par  Bure  St.  Albin. 
Unique  copy  on  vellum.  IVith  2g  original  pen-drawings  by  Martini  and  a 
duplicate  set  colored.  2  volumes,  quarto  (Paris,  1787),  in  i,  superbly  bound 
by  LoRTic  in  full  citron  morocco,  sides  paneled  with  crushed  crimson  and 
green  morocco.     $2600. 

Memoirs  of  Charles  Mathews,  by  Mrs.  Mathews,  and  "  Anecdotes 
of  Actors."  5  volumes,  extended  to  7.  joo  rare  portraits  of  actors — original 
drawings  —  autograph  letters.  Green  Turkey  morocco,  crushed  and  polished, 
by  Rivi£re.     $300.     Just  about  the  p7'ice  of  binding. 

Saint  Simon,  Memoires  Completes  et  Authentiques.  Only  100  copies 
printed,  No.  10,  Paris,  1856,  1868.  Profusely  illustrated  with  many  hundred 
fne portraits;  20  thick  volumes,  imperial  8vo.  Bound  by  Chambolle  Duru 
in  crimson  polished  levant.  $780.  The  binding  (according  to  Quaritch) 
ought  to  have  cost  $Soo. 

La  Fontaine,  Contes  et  Nouvelles  ex  Vers.  P.  Didot's  edition. 
2  volumes,  quarto,  large  paper,  Paris,  1795.  -Extended  to  6  and  an  extra 
volume  entirely  of  prittts.  7  volumes,  800  extra  illustrations,  48  portraits  of 
La  Fontaine,  80  designs  by  Eisen  and  others,  6j  ornamental  designs  by  Chaf- 
fard  on  India  paper,  j/  prints  by  De  Hooge,  60  by  Cochin,  y^  by  Desenne,  g^ 
by  Duplessis  Bertreaux,  2^  by  Cornet,  afid  many  others.  Most  of  the  prints 
are  proof  before  letter.     Bound  by  David  in  red  levant  morocco.     $1355. 

Charles  Keax,  Life  and  Theatrical  Tlmes  of,  by  John  Wm. 
Cole,  1859.  Extended  to  J  volumes  {text  inlaid)  by  the  insertion  of  2 j£  por- 
traits and  autographs  of  Wallack,  Harley,  John  Howard  Payne,  Ellen  Tree, 
J.  B.  Booth,  Mrs.  Charles  Kean,  Miss  Kemble.  Bound  in  crimson  crushed 
levant  by  RiviJire.  $95.  The  inlaying  of  the  text  and  the  binding  would 
be  cheap  at  $100. 

Lettres  d'Heloise  et  d'Abelard,  with  Latin  text ;  tiine  original 
drawings  in  sepia,  by  Moreau  le  Jeune ;  Paris,  Didot  le  Jeune,  i'jg4;  unique, 
from  the  collection  of  Renouard.  Full-bound  in  crimson  levant  by  Hardy- 
Menuil,  after  designs  by  Marius  Michel.     $960. 

It  is  difficult  to  estimate  a  work  of  this  kind,  but  it  looks  to  us  ridiculously 
below  its  value. 

Memoirs  of  the  Life  of  John  Philip  Kemble,  by  Boaden,  includ- 
ing "  History  of  the  Stage  from  the  Times  of  Garrick  " ;  2  volumes,  8vo,  ex- 
tended to  6  by  adding ^^o  portraits,  vie~os,  and  autograph  letters y  full  crimson 
morocco,  by  Riviere.  $225.  According  to  our  experience  the  binding  would 
have  cost  more  than  this. 

473 


A  great  number  of  persons  of  the  highest  culture 
in  their  profession  are  maintained  by  a  traffic  in 
prints  and  autographs.  The  purifying  and  inlay- 
ing of  prints  has  also  become  quite  an  industry, 
and  then  the  art  of  bookbindinor  has  reached  an 
elevation  that  would  not  have  been  believed  possi- 
ble in  the  days  when  Sabin  and  Gowans  were  joint 
rulers  in  the  kingdom  of  bibliolatry  of  New  -York. 
We  therefore  believe,  if  moderately  and  soberly 
practised,  privately  illustrating  valuable  books, 
either  by  the  addition  of  prints,  paintings,  or 
drawings  illustrative  of  the  text  in  the  books, 
would  prove  a  blessing,  permanently,  to  our  litera- 
ture. To  local  history,  biography,  and  the  drama 
its  value  is  incalculable.  The  tendency  and  utility 
of  books  in   their   dual  character  of  literary  and 

Marguerite  de  Navarre,  L'Heptameron  Fran^ais  de.  Profusely 
ilhistrated  with  engravings  by  Longuiel,  proofs  before  letters ;  j  volumes,  8vo, 
magnificently  bound  in  green  morocco,  heavy  inside  borders  of  gold,  by 
David.     $126.      Would  tiot  pay  for  the  binding. 

Johnsoniana,  a  Supplement  to  Boswell,  being  Anecdotes  and  Sayings 
of  Dr.  Johnson  (large  paper,  1836),  collected  by  Piozzi,  Hawkins,  Stevens, 
Murphy,  Mme.  D'Arblay,  and  others ;  l  volume,  quarto,  extended  to 3  by  the 
insertion  ofjoo  extra  prints,  consisting  of  portraits,  views,  autograph  letters, 
etc.,  bound  by  Riviere,  in  full  crimson  crushed  levant.     $262.50. 

There  are  in  these  volumes  4J  portraits  of  Johnson,  autograph  letters  of  Hes- 
ter L.  Piozzi,  Samuel  Richardson,  Horace  Walpole,  David  Garrick,  Jafues 
Boswell,  and  a  remarkable  series  of  caricatures,  20  in  number,  of  Boswell  and 
Johnson^ s  "Tour  in  Scotland  and  the  Hebrides ^ 

Many  booksellers  have  an  offhand,  flexible,  and  careless  method  of  pledg- 
ing, in  words,  to  duplicate  a  fine  book  which  some  one  else  has  produced,  for 
"half  the  money."  We  have  enumerated  above  58  volumes,  marked  at 
prices  aggregating  $7870.  These  58  volumes  cannot  be  reproduced  in  equal 
magnificence  by  any  book  or  print  seller  in  America  for  $30,000 — probably 
not  for  $40,000 ;  and  as  to  duplicating,  that  is  impossible. 

474 


artistic  souvenirs    are  too  obvious  to  dwell  upon 
here. 

Our  task  is  now  ended.  We  hope  our  "Plea  for 
Bibliomania" — opprobriously  termed  a  disease  of  the 
mind — may  be  of  interest  to  every  true  book- 
lover,  and  that  it  may  be  adjudged  that  our 
enthusiasm  has  not  transcended  rational  limits. 
Apologetically,  however,  let  it  be  borne  in  mind 
that  if  our  harvest  is  light,  we  have  garnered 
from  a  fallow  and  unwrought  field. 


475 


INDEX. 


INDEX  OF  NAMES  MENTIONED  IN  THIS  VOLUME. 


Abington,  Mrs.  Frances,  119. 

Achaintre,  Nicholas  L.,  24. 

Adam,  R.  B.,  152,  157. 

Adams,  John,  139. 

Adams,  John  Quincy,  85,  98,  145. 

Addison,  Laura,  119. 

Aitken  (bind.),  77. 

a  Kempis,  Thomas,  43. 

Aldegrever (eng.),  204. 

Aldi,  The,  406. 

Alford,  Dean,  445. 

Allan,  John,  55,  56,  62,  240. 

Amand  (bind.),  221. 

Amherst,  Lord,  95. 

Ancelot,  Madame,  353. 

Anderson,  Alexander,  63,  67,  70,  173. 

Anderson,  Jr.,  John,  429. 

Andrews,  George  H.,  141. 

Andrews,  William  L.,  121,  252. 

Angelico,  395. 

Anonymous  Bachelor,  287. 

Anthony,  Susan  B.,  455. 

Arnold,  Benedict,  139. 

Arnold,  John  H.  V.,  117,  124,  404. 

Arnoux,  Hon.  William  H.,  281. 

Asay,  E.  G.,  93,  loi. 

Askew,  Dr.  Anthony,  19. 

Astley,  Philip,  122. 

Astor,  William  Waldorf,  133,  430. 

Audouin  (eng.),  243. 

Audran  (eng.),  243. 

Audubon,  John  S.,  145. 

Avery,  Samuel  P.,  216. 

Bachelin-Deflorenne,  M.,46. 
Bachelor,  Anonymous,  287. 
Bacon,  D.  D.,  William,  161. 


Bain  (bind.),  126. 

Banks,  M.  D.,  Charles  E.,  283,  440. 

Barlow,  Joel,  62,  84. 

Barnard,  Geo.  G.,  173. 

Barrett,  George  H.,  119. 

Barry,  Thomas,  141,  176. 

Bartlett,  John  R.,  74,  93. 

Bartolommeo,  396. 

Bartolozzi  (eng.),  91,  384,  405. 

Basquet  (bind.),  220. 

Bauder  (eng.),  243. 

Baumgarten  (bind.),  466. 

Baxter,  Charles  H., 

Beaumarchais,  Caron,  353. 

Beauvalet  (eng.),  243. 

Beck,  L.  C,  30. 

Bedford  (bind.),  43,  62,  74,  84,  90,  93, 

118,  124,385,401,406,467, 
Behm  (eng.),  204. 
Behn,  Aphra,  301. 
Bell,  Hon.  Charles  H.,  316. 
Bell,  James,  26. 
Bement,  E.,  261. 
Bernhard  (bind.),  309,  406. 
Bethune,  Dr.  Geo.  W.,  85,  103,  407. 
Bewick  (eng.),  402. 
Beza  (eng.),  243. 
Billings,  John  D.,  360, 
Billington,  Elizabeth,  362. 
Black,  William,  218. 
Blades,  William,  20,  52,  401. 
Blennerhassett,  Harman,  89. 
Blooteling  (eng.),  194,  364,  405. 
Boaden,  James,  81. 
Bonaparte,  Napoleon,  225. 
Booth,  Edwin,  142. 
Booth,  Junius  Brutus,  119,  142. 


479 


Boswell,  James,  72,  427. 

Boughton,  George  H.,  218. 

Bouton,  John  W.,  22,  45. 

Boyet  (bind.),  341. 

Bracquemond  (eng.),  275. 

Bracquenil  (eng.),  217. 

Bradel  (bind.),  43,  406. 

Braney  (bind.),  407. 

Bradstieet  (bind.),  84,  93,  126,  162,  215, 

280,  371,  402. 
Bray,  Anne  E.,  117. 
Brevoort,  J.  Carson,  26,  63,  247. 
Brice,  Hon.  Calvin  S.,  430. 
Bromley  (eng.),  438. 
Brougham,  Lord,  25,  68. 
Brown,  Antoinette  L.,  455. 
Brown,  J.  Carter,  60,  72. 
Browne,  Irving,  1 14,  1 1 7,  2S1. 
Browning,  Robert,  218. 
Bruce,  William  J.,  268. 
Bryan,  Michael,  77. 
Bryant,  William  CuUen,  122. 
Buckingham,  Duke  of,  16,  410. 
Buffon,  Comte  de,  24. 
Buonarotti,  396. 
Burgkmair,  Hans  (eng.),  330. 
Burgoyne,  Gen.  John,  98,  139. 
Burke,  Edmund,  442. 
Burnet,  Gilbert,  59. 
Burnet,  John,  77. 
Burr,  Aaron,  89,  371. 
Burton,  John  Hill,  21,  159,  306. 
Burton,  W.  E.,  119,  197. 
Bushnell,  Charles  I.,  135,  357. 
Butler,  William  Allen,  430. 
Byron,  Lord,  60,  152,  155. 

Cabrera,  Dr.  Paul  F.,  34. 
Callot  (eng.),  204,  402. 
Campan,  Madame,  353. 
Campbell,  Archibald,  73. 
Canape-Belz  (bind.),  220. 
Cap^  (bind.),  43,  221,  406. 
Capet  (bind.),  469. 
Carnage  (bind.),  221. 
Carpenter,  W.  H.,  78. 

480 


Caxton,  William,  19,  47,  257,  383,  392. 
Chaffard  (eng.),  67. 
Chambers,  Robert,  126. 
Chambolle-Duru  (bind.),  43-45,204, 

240-243,  309,  310,  313,  406,  414. 
Charlet  (eng.),  438. 
Chatterton,  Thomas,  122. 
Cheney  (eng.),  36. 
Chesterfield,  Lord,  132,  241. 
Chouquet  (eng.),  277. 
Chudleigh,  Mary,  122.. 
Church,  E.  Dwight,  430. 
Cibber,  Colley,  120,  128. 
Cimabue,  394. 
Clsesseus  (bind.),  375. 
Clarke,  R.  (inlayer),  355. 
Clive,  Kitty,  132. 
Clootz,  Jean  Baptiste,  72. 
Cobbetl,  William,  61. 
Cobden-Sanderson  (bind.),  221. 
Colbert  (bind.),  341. 
Colden,  Cadwallader,  89. 
Cole,  Hamilton,  201,  207,  404. 
Cole,  Henry  (eng.),  78. 
Colfax,  Lieutenant,  112. 
Collard  (eng.),  278. 
Collier,  Thomas,  97. 
Comte,  August,  33. 
Condorcet,  Marquis,  295,  371. 
Cooke,  George  F.,  142. 
Cooke,  Joseph  J.,  92. 
Cooper,  A.,  R.  A.,  79. 
Cooper,  T.  A.,  171,  178. 
Cooper,  J.  Fenimore,  83,  99,  145. 
Cootry  (eng.),  217. 
Corbould  (eng.),  328. 
Corday,  Charlotte,  72,  449. 
Corneille,  Pierre,  353. 
Courtenay,  William  A.,  148. 
Cox  (bind.),  284,  285. 
Cox,  Henry  T.,  238,  246. 
Coypel(eng.),  328. 
Crane,  W.  C,  226,  355. 
Cromwell,  Oliver,  73,  289. 
Cronin,  Major,  107,  133,  429. 
Cruikshank,  George,  96,  155. 


Culyer,  John  Y.,  173. 
Cummings,  Thomas  A.,  87. 
Cunningham,  Allan,  89,  326. 
Cunningliam,  Peter,  122,  126. 
Currie,  James,  60,  327. 
Curtis,  George  W.,  89,  122. 
Cushman,  Charlotte,  142. 
Custis,  George  P.,  121. 
Cutting,  Robert  L.,  51. 
Cuzin  (bind.),  221. 

D'Alembert,  Jean  le  Roud,  353. 

Daly,  Augustin,  124,  128,  133. 

Dana,  R.  H.,  122. 

Danton,  George  J.,  72. 

Darley  (eng.),  67,  155. 

Darwin,  Charles,  33,  452. 

D'Aubigne,  Jean  Henri,  112. 

Davenant,  Sir  William,  122. 

David  (bind.),  84,  93,  341,  406. 

Davies,  Thomas,  124. 

Davis,  William  L.,  135. 

Davy,  Sir  Humphrey,  185. 

Dawson  (bind.),  43, 

Day,  Fred.  Holland,  268. 

de  Fortsas,  Count,  206. 

de  Genlis,  Madame,  353. 

De  Haussonville,  Vicomte,  230. 

De  Hoym  (bind.),  341. 

de  Kay,  J.,  30. 

De  Koch,  Paul,  132. 

de  Lamartine,  Alphonse,  154,  353. 

De  Launay  (eng.),  243. 

Delmonico,  Lorenzo,  51. 

Del  Sarto,  396. 

de  Palissy,  Bernard,  45. 

Derome  (bind.),  406,  465. 

Des  Cartes,  Rene,  16. 

Desemblanc  &  Co.,  360. 

de  Servier,  Jean  Grolier,  465. 

Desfontaines,  Abbe,  296. 

Desmoulins,  Camille,  72. 

de  Stael,  Madame,  353,  371. 

DeThou  (bind),  341. 

Deveria  (eng.),  328. 

De  Worde,  Wynken,  57,  383. 


Dibdin,  Thomas  F.,  17,  73,82,91, 106, 

124. 
Dickinson,  Anna,  455. 
Dick,  William  B.,  192. 
di  Credi,  396. 
Diderot,  Denis,  295,  353. 
Dien  (eng.),  243. 
Dietricy  (eng.),  204. 
D'Israeli,  Isaac,  113. 
Dissenit  (bind.),  466. 
Divens,  General  Charles,  96. 
Dobson,  Austin,  218. 
Doggett,  Thomas,  119. 
Donnes,  William,  266. 
Dore,  Gustave,  429. 
D'Orsay,  Count,  153. 
Drake,  Joseph  Rodman,  114. 
Drake,  Samuel  G.,  81. 
Dreer,  Ferdinand  J.,  65,  160. 
Drevet  (eng.),  243. 
Drexel,  Joseph  W.,  71,  93. 
Drouet  (eng.),  243. 
Drowne,  Henry  T.,  282. 
Du  Deffand,  Madame,  353. 
Duer,  William  A.,  151. 
Duez,  Ernest,  429. 
Duff,  Mary  A.,  142,  176. 
Dunlap,  William,  75,  87. 
Dupre  (eng.),  453. 
Durand  (eng.),  33,  277. 
Durer  (eng.),  33,  78,  194,  204,  330, 

384- 
Duyckinck,  Evert  A.,  69,  233. 
Dyer,  Thomas  H.,  34. 

Edelinck  (eng.),  243,  405. 

Edwin  (eng.),  253. 

Egmont,  Earl  of,  247. 

Eisen  (eng.),  67. 

Elizabeth,  Queen,  73,  323,  459, 

Emmet,  Dr.  Thomas  Addis,  205,  216. 

Emmet,  Robert,  89. 

Emmons,  E.,  30. 

Erasmus,  Desiderius,  185,  313. 

Eve  (bind.),  466. 

Everett,  Edward,  35,  85,  122,  145. 


481 


Faithorne    (eng.),    i< 

405. 
Farnham,  Alexander,  75. 
Farrar,  Canon,  345. 
Faulkner  (bind.),  43. 
Ferrari,  397. 
Field,  J.  J.,  142. 
Field,  James  T.,  95. 
Field,  Thomas  W.,  26,  91. 
Field,  W.  E.,  277. 
Finden  (eng.),  87. 
Fiquet  (eng.),  243. 
Fisher,  Miss  Kitty,  436. 
Fisher  (eng.),  188. 
Flameng  (eng.),  77,  217. 
Florence,  William  J.,  276. 
Forrest,  Edwin,  142. 
Fox,  Charles  J.,  61,  371. 
Francis,  Dr.,  58. 
Franklin,  Benjamin,  85,  138. 
Eraser,  William  A.,  262. 
Freeling,  Sir  George  H.,  83. 
Freneau,  Philip,  113. 
Froissart,  Sir  John,  92. 
Fulton,  Robert,  62. 

Gaddi,  Taddeo,  395. 
Gaddi,  Angelo,  395. 
Gaddi,  Gaddo,  395. 
Gage,  General,  138. 
Gallatin,  Albert,  74. 
Gait,  John,  119. 
Garden,  Alexander,  91. 
Garrick,  David,  119,  193,  373. 
Gates,  General,  138. 
Gaudet,  M.  Elie,  72. 
George  II.,  95. 
George  IV.,  95. 
Gerini,  395. 
Gibbs,  James,  385. 
Gibbs,  Lieut.,  112. 
Giffart  (eng.),  243. 
Gilbert,  John,  142. 
Gilman,  A.  H.,  361. 
Gilsey,  Peter,  197. 
Giotto,  395. 


194,   256,   364, 


Giraud,  J.  P.,  29,  30. 
Gleason  (bind.),  255. 
Glenvil,  Sir  Bevill,  73. 
Glessner,  J.  J.,  179. 
Goelet,  Ogden,  198. 
Goethe,  Johann  W.,  154. 
Goodrich,  Frank  D.,  142. 
Goupil,  M.,  69. 
Gowans,  William,  20,  21. 
Gozzoli,  396. 
Graef,  169. 
Graham,  John,  73. 
Granger,  James,  28,  85. 
Greeley,  Horace,  250. 
Griswold,  Rufus,  145. 
Grivaz,  Eugene,  131,  428. 
Grolier,  Jean,  de  Servier,  465. 
Gromier,  M.,  46. 
Grosvenor  (bind.),  221. 
Guild,  Curtis,  138,  144,  400. 
Gunst  (eng.),  243. 
Gwynne,  Nell,  200,  266. 


Hackett,  J.  H.,  119. 

Hadden  (bind.),  229,  230. 

Hale,  James  W.,  177. 

Hall,  Charles  B.,  380. 

Hall,  George,  145. 

Hall,  Hon.  A.  Oakey,  195. 

Hall,  J.,  30. 

Halleck,  Fitz-Greene,  114. 

Halleck,  Maria,  145. 

Hallett,  Theodore  (inlayer),  280. 

Hamerton,  Philip  G.,  80. 

Hamilton,  Alexander,  70. 

Hamilton,  Schuyler,  83. 

Hammond  (bind.),  385. 

Hampden,  John,  73. 

Hancock,  John,  139. 

Harding  (eng.),  277. 

Hart,  Charles  Henry,  336. 

Hastie,  Peter,  63,  404. 

Hastings,  Marquis  of,  208. 

Hathaway  (bind.),  164,  286,  317. 

Hawkins,  F.  W.,  127. 

Hawkins,  Sir  John,  122. 

482 


Hawthorne,  Nathaniel,  122,  150, 

Hayday  (bind.),  74.  93-  "9.  33 1>  386. 

Hazlitt,  William,  114. 

^eath,  General,  139. 

Hecksler,  John  G.,  107. 

Henderson  (bind.),  93. 

Henry,  Patrick,  95. 

Hering  (bind.),  43,  386. 

Hervey,  A.  F.,  163. 

Hervey,  Lord,  61. 

Hicks,  Elias,  455. 

Hills,  William  S.,  146. 

Hoe,  Robert,  Jr.,  29,  405. 

Holberton,  Wakeman,  107. 

Holbein,  394. 

Holbrow,  T.  V.,  377. 

Holcroft,  Thomas,  119. 

Holland,  George,  125. 

Hollar  (eng.),  33,  59,  256,  275,  405. 

Hollingsworth,  Z.  T.,  399. 

Holmes,  Oliver  Wendell,  144. 

Hopper,  Isaac  T.,  455. 

Horn,  William  T.,  308. 

Hosack,  Dr.,  90. 

Hosier,  Abram,  135,  169,  253,  430. 

Houbraken  (eng.),  28,  194,  405. 

Houssaye,  Arsene,  98,  99,  360. 

Houston,  Sam,  186. 

Howe,  Fisher,  93. 

Hoyt,  Fred.  T.,  173. 

Hugo,  Victor,  154. 

Hunt,  Leigh,  146. 

Hunter,  Dr.  John,  65. 

Huse  (bind.),  286. 

Hutton,  Laurence,  137,  259. 

Huxley,  Professor,  33. 

Ireland,  Joseph  N.,  120.  ITr 

Ireland,  William  Henry,  127,  -J-?^ 

Irving,  Henry,  190. 

Irving,  Washington,  57,  58,  70,  84,  85. 

Irwin,  Theodore,  102,  383. 

Isabey,  Eugene,  429. 

Ives,  Brayton,  93. 


Jackman  (eng.),  36. 


Jackson,  Andrew,  62. 
Jackson, John, 59. 
Jacque  (eng.),  402. 
Jacquemart,  Jules,  429. 
Jacquet,  G.,  429. 
Jay,  John,  139. 
Jefferson,  Thomas,  139,  371. 
Jerrold,  Douglas,  49. 
Joannes,  Count,  124,  236,  377. 
Johannot  (eng.),  438. 
Johnson,  Samuel,  45,  72,  140. 
Jonson,  Ben,  185. 
Joly  (bind.),  220. 
Jones,  Hon.  Charles  C,  246. 
Jonage,  Count  de,  46. 
Jones,  Inigo,  185,  313. 
Jourdain,  Roger,  429. 

Kalteeber  (bind.),  466. 
Karrmann  (bind.),  388. 
Kauffman  (bind.),  146. 
Kean,  Charles,  97. 
Kean,  Edmund,  142,  169,  193. 
Keats,  John,  271. 
Keese,  John,  367. 
Keese,  William  L.,  366. 
Kelly,  Hugh,  122,  126. 
Kemble,  Fanny,  146. 
Kemble,  J.  P.,  142,  186. 
Kemp,  W.  H.,  197. 
Kennedy,  John  P.,  122. 
Kennedy,  Robert  Lenox,  339. 
Kenyon,  Whitman  W.,  26. 
Kindberg,  Edward,  341. 
King  Charles  B.,  41. 
Knight,  Charles,  88,  99. 
Knight,  R.  Payne,  61. 
Knox,  General,  139.        * 
Kobel,  James  (eng.),  330. 
Koecker,  Leonard  R.,  63,  66. 
Koehler  (bind.),  43. 
Kohler  (bind.),  406. 

Lafayette,  Marquis  de,  85,  144. 
Lake,  James  Winter,  29. 
Lamb,  Charles,  60. 


483 


Lambert,  L.  Eugene,  429. 

Lander,  B.,  155. 

Landseer  (eng.),  405. 

Lane,  I.  Remsen,  402. 

Lang,  Andrew,  218,  401. 

La  Place,  Pierre  S.,  62. 

L'Armesson  (eng.),  188. 

Lawrence    (inlayer),  38,   249,  280,  315, 

355.  361- 
Lawrence,  Jr.  (inlayer),  280. 
Lawrence,  Sir  Thomas,  146,  241. 
Lawrence,  T.  W.,  197. 
Lawson,  James,  145. 
Lefferts,  Marshall  C,  363. 
Le  Gascon  (bind.),  465. 
Leibnitz,  Baron,  43. 
Leleux  (eng.),  453. 
Leloir,  Maurice,  429. 
Lemaitre,  Georges,  141. 
Lenox,  James,  58,  3S6. 
Le  Rat  (eng),  217. 
Leslie  (eng.),  I55- 

Lewis  (bind.),  43,  57,  62,  84,  331, 406. 
Lewis  (eng.),  279. 
Lillie,  S.  v.,  157. 
Lincoln,  Abraham,  138. 
Lind,  Jenny,  145. 
Linton,  William,  95,  217. 
Lippi,  396. 

Little  &  Brown  (bind.),  361. 
Livingston,  Hon.  R.  L.,  107. 
Loftie,  W.  J.,  80. 
Loggan  (eng.),  364. 
Lombart  (eng.),  188. 
Longfellow,  Henry  Wadsworth,  144. 
Longhi  (eng.),  28. 
Lortic  (bind.),  43,  74,  93,  406. 
Lossing,  Benson  J.,  63. 
Louis  XIV.,  351,  359. 
Lubbock,  Sir  John,  43. 
Lubin  (eng.),  243. 
Lytton,  E.  Bulwer,  154. 

Macdonald  (bind.),  44,  47,  147,  263,  264, 

274.  325- 
Macdonald  &  Allen  (bind.),  113. 

484 


Macdonald  &  Sons  (bind.),  164,  165. 

Mackenzie  (bind.),  62,  93. 

Mackinlay  (bind.),  43. 

Maclay,  Hon.  W.  B.,  145. 

Magnin  (bind.),  220. 

Maintenon,  Madame  de,  353. 

Manson,  A.  S.,  272. 

Mara,  Elizabeth,  362. 

Marat,  Jean  Paul,  72,  449. 

Marion,  General,  139. 

Marriott,  Richard,  103. 

Marshall,  William  (eng.),  163. 

Marvin,  Rev.  Frederic  R.,  344. 

Masaccio,  395. 

Mason,  Amelia  Gere,  352. 

Mason,  George  C,  71. 

Masson  (eng.),  243. 

Mather,  William  W.,  30. 

Mathews,  Charles,  119. 

Matthews  (bind.),  44,  47,  74,  83,  84,  86, 
88,  91,  93,  102,  106,  128,  145,  194,202, 
203,  205,  242,  255,  261,  310,  331,  359, 
360. 

Matthews,  William,  274. 

Maudsley,  Dr.  Henry,  403. 

Mauran,  James  E.,  236. 

McKee,  Thomas  J.,  167,  175,  404. 

McLehore,  Agnes,  89. 

Melanchthon,  Philip,  112. 

Menken,  Adah  Isaacs,  34. 

Menzies,  William,  86. 

Meissonier,  M.,  430. 

Meunier  (bind.),  220. 

Meux  (bind.),  466. 

Miller  (eng.),  456. 

Mitchell,  Hon.  James  T.,  319. 

Mitchell,  Samuel  L.,  145. 

Monze,  Gaspard,  62. 

Monnier  (bind.),  466. 

Monselet,  Charles,  23. 

Montalembert,  Comte,  353. 

Montbrison,  Count  de,  45. 

Moore,  Thomas,  69,  146. 

Moreau,  Charles  C,  180,  232,  283. 

Morgan,  J.  Pierpont,  201,  369,  376,  400. 

Morgan,  Mrs.  Mary  Jane,  55,  432. 


Morghen  (eng.),  28,  405. 
Morrell,  Thomas  H.,  138,  404. 
Morris,  G.  P.,  119. 
Morris,  R.,  85,  144. 
Mott,  Lucretia,  455. 
MuUer,  Wilhelm,  154. 
Murphy,  H.  C,  26,  93. 
Murray  (bind.),  122. 
Murton  (bind.),  218. 

Nanteuil  (eng.),  28,  243. 

Navarro,  403. 

Nebe,  Harvey,  267. 

Neuman  (bind.),  358. 

Newton,  Sir  Isaac,  31,  43. 

NiccoUs,  Francis  A.,  113. 

Nichols,  Gage,  107. 

Nicholson  (bind.),  83,  84. 

Niedree  (bind.),  43,  221,  406. 

Noble,  Mark,  29. 

Nodier,  Charles,  22. 

North,  Lord,  95. 

Oglethorpe,  Gov.,  247. 

Oldfield,  Mrs.  Anne,  195. 

Oldys,  William,  122. 

Oliver,  Isaac,  456. 

Orcagna,  395. 

Ostade  (eng.),  402. 

Padeloup  (bind.),  465. 

Pagnant  (bind.),  221. 

Paine,  Nathaniel,  94,  97. 

Paine,  Thomas,  79,  139,  144.  186. 

Palmer,  A.  M.,  135. 

Palmer,  E.  S.,  358. 

Parish,  Daniel,  Jr.,  430. 

Parker  (eng.),  36. 

Parquet  (eng.),  438. 

Parton,  James,  74,  89,  144. 

Pawson  &  Nicholson  (bind.),'44,  47, 
84,  254,  320. 

Payne  (bind.),  43,  62,  93,  466. 

Payne,  John  Howard,  170. 

Peale,  Charles  W.  (eng.),  163. 

Pelton  (eng.),  37. 

Pengold  (bind.),  256. 

Penn,  Gov.,  110. 


Pepys,  Samuel,  42,  256,  266,  293. 

Percy,  Bishop,  122. 

Perkins,  T.  II.,  36,  37. 

Perugino,  397. 

Petit  (bind.),  74. 

Petion,  Jerome,  72. 

Pettigrevv,  Thomas  J.,  33. 

Phcenix,  S.  W.,93. 

Phillips,  Wendell,  455. 

Picart  (eng.),  188,  243. 

Piozzi,  Madame,  140. 

Poe,  Edgar  A.,  132. 

Poggio,  Bracciolini,  18. 

Poinier,  J.  W.,  Jr.,  196. 

Polloniolo,  396. 

Poole  (inlayer),  114,  147,  355,  381. 

Pope,  Norton  Q.,  325,  336. 

Pope,  Mrs.  Norton  Q.,  325,  404. 

Portland,  Duke  of,  61. 

Pov/er,  Tyrone,  97. 

Pratt  (bind.),  84,  93,  384,  386,  401. 

Pratt,  Dr.,  164. 

Preble,  George  H.,  95. 

Prescott,  William  H.,  91,  122. 

Prevost,  Abbe,  353. 

Price,  Stephen  H.,  197. 

Purser,  Hon.  George  H.,  151. 

Putnam,  General,  139. 

Putnam,  George  P.,  63,  122. 

Pyle,  Howard,  392. 

Pym,  John,  73. 

Quaritch,  Bernard,  20,  22,  466. 

Racine,  Jean,  353. 
Raffet  (eng.),  438,  466. 
Raimbach  (eng. ),  413,  438. 
Ramsay,  Allan,  122. 
53,    Randall,  H.  S.,  90. 
Raphael,  394. 
Recamier,  Madame,  353. 
Redgrave,  Richard,  105. 
Reid,  John  R.,  27. 
Rembrandt  (eng.),  204. 
Rembrandt,  Paul  G.,  77. 
Rembrandt  van  Ryn,  15,  33. 

485 


Resselli,  396. 

Reutte  (bind.),  466. 

Reynolds,  Sir  Joshua,  241,  456. 

Riach  (bind.),  284. 

Rice,  John  A.,  82. 

Richards  (eng.),  453. 

Richardson,  Chas.  F.,  368. 

Richeheu,  Cardinal,  426. 

Richardson,  H.  S.,  45. 

Ringer  &  Co.  (bind.),  324,  398. 

Riviere  (bind.),  43, 62,  i  iS,  144,  147,  242, 

261,  264,  281,  320,  406. 
Robespierre,  M.  Isidore,  72,  449. 
Roebling,  John  A.,  49. 
Rogers,  Samuel,  75,  154. 
Roland,  Madame,  72. 
Round,  W.  M.  T.,  317. 
Rousselle  (bind.),  340. 
Rubens  (eng.),  194. 
Rudd,  Catharine,  122. 
Rulan  (bind.),  360. 
Ruskin,  John,  51. 

Sabin,  Joseph,  20,  86, 106. 

Sabin,  W.  W.,  106,  388. 

Sackville,  Edward,  73. 

Sage,  Dean,  105. 

Sale,  Madame,  417. 

Sanderson,  John,  90. 

Sanford  (bind.),  147,  164,  278,  284. 

Sargent,  Epes,  145. 

Sargent,  Winthrop,  90. 

Savage  (eng.),  254. 

Schaeflein,  Hans  (eng.),  330. 

Schoen  (eng.),  402. 

Schroeder,  John  Frederick,  91. 

Scott,  General  Winfield,  83. 

Scott,  Sir  Walter,  92,  146,  251. 

Sevigne,  Madame  de,  353. 

Sewall,  H.  F.,  76. 

Shakspeare,  William,  61. 

Sharpe  (eng.),  405. 

Shirley,  Governor,  95. 

Siddons,  Mrs.  Sarah,  119. 

Sidney,  Sir  Philip,  73,  311. 

Signorelli,  396. 

486 


Simier  (bind.),  406. 

Simms,  W.  Gilmore,  122. 

Sisco  (eng.),  328. 

Smilie(eng.),  453. 

Smirke  (eng.),  328. 

Smith,  Gerrit,  455. 

Smith  (bind.),  44,  47,  93,  '99,  402. 

Smith,  R.   W.    (bind.),  69,  77,  78,  107, 

121,  125, 182,  344. 
Smith,  Hon.  Roger,  71. 
Smith,  William,  79. 
Smith,  Mrs.  W.  H.  (bind.),  141. 
Smith,  Sidney,  60,  447, 
Smithson,  James,  447. 
Snuffy  Davy,  19. 
Sorel,  Agnes,  237. 
Southey,  Bob,  131,  251. 
Southram  (bind.),  373. 
Sparks,  Jared,  84. 
Spencer,  Herbert,  33, 
Spinello,  395. 
Sprague,  O.  .S.  A.,  324. 
Squier,  Hon.  E.  G.,  27,  34. 
Stanley,  Dean,  345,  363. 

Stauffer,  D.  McN.,  109,  113. 

Stagetmeier  (bind.),  466. 

Stark,  General,  95. 

Stedman,  Edmund  Clarence,  99, 166, 315. 

Steele,  R.  H.  H.,  197. 

Stevens,  B.  F.,  362. 

Stevens,  George,  122. 

Stikeman  (bind.),  98,  130,  147,  240,  241, 
245,  255,  264,  266,  325,  359,  360,  363, 
401,  402. 

Stiles,  Dr.  Henry  R.,  31,  32. 

Stillman,  Thomas  E.,  430. 

Stone,  H.  L.,  98. 

Stothard  (eng.),  33,405- 

Stowe,  Harriet  Beecher,  455. 

Strange  (eng.),  28,  405. 

Stuart,  Gilbert  C,  37. 

Stuart,  R.  W.,  93. 

Sumpter,  General,  139. 

Swift,  Dean,  411. 

Taft,  O.  B.,398. 

Taft,  Mrs.  O.  B.,  398. 


Talleyrand,  Chas.  M.,  371. 

Talma,  Fran9ois  Joseph,  141. 

Tarrant  (bind.),  62,  237. 

Taylor,  Douglas,  180. 

Taylor,  Jeremy,  43. 

Taylor,  Thomas,  33,  265. 

Tenney,  Dr.  Dudley,  198. 

Tennyson,  Alfred,  344. 

Terry,  Ellen,  190. 

Thackeray,  William  Makepeace,  96,  127. 

Thiers,  Louis  Adolphe,  72. 

Thomassin  (eng. ),  243. 

Thompson,  Daniel  G.,  462. 

Thornton,  P.  P.,  112. 

Thouvenin  (bind.),  465. 

Tissot,  James,  429. 

Titian,  397. 

Toedteberg,  Augustus,  38,  129,  130,  188. 

Toedteberg  (inlayer),  128,  169,  249,  317. 

Tompkins,  Hamilton  B.,  280. 

Tonson,  Jacob,  122. 

Tout  (bind.),  144, 146,  147,  243,  329,  375. 

Trautz-Bauzonnet   (bind.),    43,   44,  93, 

221,  406,  469. 
Treadwell,  John,  455- 
Tree,  Ellen,  142. 
Trent,  George,  38,  84,  244. 
Trent  (inlayer),  114,182,203,249,253, 

261,  283,  321. 
Tuckerman,  Bayard,  203. 
Tunonneau  (eng.),  243. 
Turgot,  Baron,  353. 
Turner,  Charles,  266. 
Turner,  Elisha,  324. 
Turner,  L.  G.,  399. 
Turner,  William,  57. 
Tyndal,  Professor,  33. 

Upcott,  William,  61,  75. 

Vandreblanc  (eng.),  188. 
Van  Dyck,  Anthony,  78,  80. 
Van  Elton,  453. 
Van  Laun,  Henry,  105. 
Van  Leyden  (eng.),  204. 
Van  Pass  (eng.),  364. 

487 


Van  Schuppen  (eng.),  243. 
Van  Siclen,  George  W.,  106. 
Vasari,  396. 
Verkolije  (eng.),  188. 
Vermeulen  (eng.),  243. 
Verplanck,  63. 
Verrocchio,  396. 
Vertue  (eng.),  405. 
Vestris,  Madame,  146. 
Voghter,  Henry  (eng.),  330. 
Volney,  Count,  62,  353. 
Voltaire,  M.,  251,  296,  353. 
Von  Cranach  (eng.),  112,  330. 
Vroom,  Hon.  Garret  D.  W.,  227. 

Wallace,  A.  R.,  33. 

Waller,  Edward,  410. 

Walpole,  Horace,  89. 

Walston  (eng.),  155. 

Walther  (bind.),  466. 

Walton,  Miss  L.  E.,  393. 

Walton,  Thomas,  393. 

Waltorer  (eng.),  217. 

Warren,  Mrs.  Mercy,  91. 

Waterloo  (eng.),  204. 

Waters,  B.  C,  107. 

Watson,  Caroline  (eng.),  275,  456. 

Watson,  John  Fanning,  161, 

Way,  W.  Irving,  400. 

Wayne,  General,  139. 

Webb,  Dr.  William  Seward,  107. 

Webster,  Daniel,  98. 

Weisgerber,  Edward,  133,  391. 

Wellington,  Duke  of,  146. 

West,  Dr.  Charles  E.,26. 

West,  Benjamin,  62. 

Westall  (eng.),  328. 

Westwood,  Thomas,  103,  404. 

Wetmore,  William,  135. 

White,  Andrew  D.,  323. 

White,  R.  Grant,  307. 

White  (eng.),  188,  256,  307,  364,  405. 

Wieners,  Godfrey  A.  S.,  430. 

Wierix  (Wierx)  (eng.),  204,  405. 

Wiffen,  Jeremiah  Holme,  74. 

Wight,  Andrew,  85. 


Wilde,  Oscar,  133. 
Wilkie,  David,  413. 
Wilks,  Robert,  122. 
Williamson,  Tate,  1 19,  136. 
Wilson,  James  Grant,  145. 
Wilson,  Professor  Daniel,  88. 
Wilson,  Thomas,  77. 
Wiseman,  Cardinal,  132,  313. 
Woffington,  Peg,  132. 
Woodbury,  John  P.,  262. 
Wolsey,  Cardinal,  132,  323. 


Woolsey,  E.  J.,  65. 
Wordsworth,  William,  60,  310. 
Worms,  Jules,  429. 
Wright,  J.  O.,  36,  io6,  150,  362. 
Wright,  Fanny,  455. 
Wyman,  W.  H.,  387. 
Wynne,  James,  84,  115. 

Zaehnsdorf  (bind.),  43,    118,   144,   147, 

218,  244,  269,  278,  37i,  401,  406. 
Zedlitz,  Joseph  C,  154. 


INDEX  OF  PRIVATELY    ILLUSTRATED    BOOKS   AND 
SUBJECTS   MENTIONED    IN    THIS   VOLUME. 


Abbeys   and   Castles   of    England    and 

Wales,  151. 
Abbotsford  and  Newstead  Abbey,  325. 
Actors  and  Actresses,  Our,  234. 
Actors    and   Actresses,   The    Lives    of, 

Hutton,  137,  181. 
Actors'  Series,  234. 
Adams  and  Jefferson,  Commemoration 

of,  Webster,  97. 
Adams,  John,  Correspondence  of,  384. 
Agnes    Sorel    et    Charles   VII.,  Steen- 

ackens,  280. 
Alhambra,  The,  325. 
Allan,  John,  Memorial  of,  78,  161. 
Alliston,  R.  W.,  168. 
Amadis  of  Gaul,  Lobeira,  294. 
Amenities  of  Literature,  D'Israeli,  112. 
America,    Retrospections    of,    Bernard, 

181. 
American     Biography,     Dictionary     of, 

Drake,  389. 
American  Chronology,  Moreau,  182. 
American  Columbian,  no. 


American  Dramatic  Series,  141. 
American   Engravers,   Baker,  113,    163, 

337- 
American  Engravers  and  their  Works, 

Ottley,  81. 
American  Flag,  History  of  the,  Preble,95. 
American  History,  Magazine  of,  in. 
American  Poets,  Stedman,  99. 
American  Revolution,  Warren,  91. 
American  Revolution,  Anecdotes  of  the. 

Garden,  91. 
American     Revolution,    Diary    of    the, 

Moore,  235. 
American     Stage,    Curiosities     of    the, 

Hutton,  235,  260. 
American  Stage,  History  of  the,  Dunlap, 

233- 
American  Statesman  Series,  197. 
Anderson,  Dr.  Alexander,  Memorial  of, 

Lossing,  173,233. 
Anderson,  Mary,  236. 
Anderson,  Mary,  Stage  Life  of.  Winter, 

357- 


488 


Andr^,  Major,  Death  of,  Smith,  285. 
Andre,  Major,  Life  of,  Sargent,  90,  171, 

213,229,  262,273,  399- 
Andre,  Vindication  of,  Benson,  273. 
Andre,  Vindication  of  the  Captors  of,  189. 
Andreana,  Smith,  385. 
Anecdotes,    etc.,   of    Books    and    Men, 

Spence,  242. 
Anecdotes  of  Painting  in  England,  Wal- 

pole,  89,  379. 
Angler,    Compleat,    Chronicle     of    the, 

Westwood,  179,  310. 
Angler,  The  Complete,  Walton,  58,  87, 

103,  115,239,256,347,402. 
Angler,  The  Complete  ( Bagster  ed. ),  1 56. 
Angler,  The  Complete  (Bethune),  85. 
Angler,  The  Complete  (Bogue  ed.),  451. 
Angler,  The  Complete  (Boston  ed.),  309. 
Angler,  The  Complete  (Major  ed.),  156, 

310. 
Angler,  The  Complete  (Pickering  ed.), 

102,  171,  261,  263,  274. 
Angling  Resorts  in  the  U.  S.  and  Canada, 

108. 
Annals  of  the  Artists  of  Spain,  Maxwell, 

403- 
Annals  of  the  English  Stage,  Doran,  7S, 

84,  102,  127,  145,  169,  192,  196,  197, 

256,  266,  268. 
Annapolis  Convention,  211. 
Antietam   and  Fredericksburg,  Palfrey, 

381. 

Antiquities  of  Southern  Indians,  Jones, 

247. 
Apology  for  His  Own  Life,  Cibber,  128. 
Ariosto,  340. 

Army  of  the  Cumberland,  Cist,  381. 
Arnold,  Benedict,  Life  of,  Arnold,  273. 
Art  of  Angling,  Holberton,  107. 
Artist  Life,  etc.,  Tuckerman,  70. 
Arts  of  Design  in  the  U.  S.,  Dunlap,  87. 
As  you  Like  it,  128. 
At  the  Sign  of  the  Lyre,  Dobson,  217. 

Bacon-Shakspeare  Bibliography,  389. 
Ballads  of  Books,  Matthews,  268,  286. 
32 


Balzac,  H.  de,  Correspondence  of,  272. 
Bank  of  North  America,  History  of  the, 

162. 
Bannister,  Life  of,  151,  181. 
Bannister,  John,  Memoirs  of,  139,  196. 
Barlow,  Joel,  Life  of,  379. 
Barney,  Commodore,  Memoir  of,  379. 
Barrington,  Sir  Jonah,  Personal  Sketches, 

320, 
BattleofGettysburg,Comtede  Paris, 381. 
Beacon  Lights  of  History,  Lord,  402. 
Beaumarchais,  Caron  de,  Life  and  Times, 

de  Lom^nie,  280. 
Beauties   of  the   Court  of  Charles   II., 

Jameson,  313,  364. 
Before  and  Behind  the  Curtain,  Northall, 

235- 

Beham,  Prints  of,  Loftie's,  80. 

Bellamy,  G.  A.,  168. 

Berry's,  Mary,  Journal  of  Correspon- 
dence, 340. 

Betterton,  Thomas,  168. 

Bible,  The,  385. 

Bibliographical,  Antiquarian,  etc.,  Dibdin, 

324- 
Bibliographical  Decameron,  Dibdin,  102, 

324- 

Bibliographical  Notes,  Field,  95. 

Bibliographical  Repertorium,  312. 

Bibliography,  Introduction  to  the  Study 
of.  Home,  312. 

Bibliomania,  Dibdin,  57,  78,  203,  278, 
312,  324. 

Bibliophobia,  Dibdin,  57,  63,  278. 

Bibliotheca  Madrigaliana,  Rimbault,  71. 

Biddle,  Nicholas,  Memoirs  of,  162. 

Billington,  Mrs.,  Memoirs  of,  129. 

Biographia  Dramatica,  Barton,  l8l. 

Biographical  History  of  the  Fine  Arts, 
Spooner,  126,  346. 

Bleak  House,  Dickens,  244. 

Blennerhassett  Papers,  89. 

Blockade  and  the  Cruisers,  The,  Soley, 
381. 

Bonaparte,  Napoleon,  Anecdotes  of,  Cun- 
ningham, 356. 

489 


Bonaparte,  Napoleon,  at  Saint   Helena, 

386. 
Bonaparte,     Napoleon,     Criticism     on, 

Channing,  338. 
Bonaparte,  Napoleon,  History  of,  356. 
Book  for  a  Rainy  Day,  Smith,  231. 
Book- Hunter,  The,  Burton,  147, 159, 189, 

306. 
Book,    The,    Its    Printers,    Illustrators, 

and  Binders,  Bouchot,  465. 
Book- Lover's  Enchiridion,  The,  155, 190, 

197.  343. 402. 

Book  of  Cats,  The,  Ross,  450. 

Book  of  Costumes,  The,  379.- 

Book  of  Days,  Chambers,  126,  139,  235. 

Book  of  Death,  Debree,  115,  150. 

Book  of  the  Artists,  The,  Tuckerman, 
203,  234,  344. 

Book  of  the  Sonnet,  Hunt,  146,  269. 

Book  Rarities  of  Cambridge,  312. 

Books  and  Bookmen,  Lang,  401. 

Booth,  Edwin,  Sketch  of,  125. 

Booth's  Theater,  Records  of,  236. 

Boston,  History  and  Antiquities  of, 
Drake,  81. 

Boston,  Siege  of,  Frothingham,  273, 285. 

Bradford,  Colonel  William,  Life  of,  113. 

Bray,  Anna  E.,  Autobiography  of,  164. 

Brief  Memoirs,  182. 

Bristol,  Skelton's,  150. 

British  Angler's  Manual,  Jay,  349. 

Brougham,  John,  236. 

Brown,  Henry  Armitt,  Memoir  and  Ora- 
tions of,  Hoppin,  321. 

Brummel,  George  Bryan,  Life  of,  165. 

Bryant,  William  Cullen,  and  His  Liter- 
ary Companions,  235. 

Bryant,  William  Cullen,  Life  of,  Godwin, 

378. 

Bunyan,  John,  1 15. 

Burney,  Fanny,  and  Her  Friends,  403. 

Burns  (Kilmarnock  ed,),  102. 

Burns,  Robert,  Life  and  Works  of,Currie, 
60. 

Burns,  Robert,  Life  and  Works  of,  Wil- 
son, 88. 


Burns,  Robert,  The  Works  of,  275,  326, 

403- 
Burnsiana,  A  Manual  of,  155. 

Burr,  Aaron,  Life  of,  Davis,  183,  273. 

Burr,  Aaron,  Life  of,  Parton,  357. 

Burton,  William  E.,  Life  of,  Keese,  200, 

235.  366. 
Butler,  Samuel,  The  Works  of,  385. 
Byron  and  Shakspeare,  182. 
Byron  and  Some  of  His  Contemporaries, 

152. 
Byron,  Letters  and  Journals  of,  Moore, 

152. 
Byron,  Poetical  Works  of,  147,  152. 


Cambridge  of  1776,  The,  254. 
Campaign  and   St.   Leger's  Expedition, 

Stone,  98. 
Campaigns  of  the  Army  of  the  Potomac, 

Swinton,  381. 
Carlyle,     Thomas,     Reminiscences     of, 

Froude,  358. 
Catalogue  Raisonn^,  etc.,  Wilson,  77. 
Cattley,  Mrs.  Anne,  168. 
Celebrated   Courtesans   of  the   time   of 

Charles  IL,  Hollar,  293. 
Centenary  History,  Barnes,  182. 
Century  of  Painters,  A,  Redgrave,  105, 

234- 
Chambered  Nautilus,  Holmes,  144. 
Chancellorsville  and  Gettysburg,  381. 
Chapters  on  Animals,  Hamerton,  454. 
Charles  I.,  Warwick,  285. 
Charles  IL,  Coronation  of,  269. 
Charles  IL,  Memoirs  of,  Grammont,  292. 
Charleston,  1788,  Siege  of,  211. 
Chatterton,  Thomas,  Life  of,  Dix,  165. 
Chatto  on  Wood  Engraving,  59. 
Chaucer,  Reviews  of,  237. 
Chief-Justices  of  the  U.  S.,  Lives  of  the, 

Flanders,  320. 
Child's  Bible,  Cassell,  281. 
Christ's  Church,  Phila.,  History  of,  162. 
Chronicles  of  Fashion,  Stone,  268. 
City  Year  Books,  Courtenay,  149. 


49c 


Clark,  W.  G.,  The  Literary  Remains  of,  Cruikshank,   George,    Life    of,  Jerrold, 

268.  199, 200. 

Clergy  and  Commons,  etc.,  The,  156.  Curiosities  of  the  Stage,  181,  379. 

Clinton,  De  Witt,  Memoirs  of,  Hosack,  Cyclopaedia     of    American     Literature, 


90. 

Coghlan,  Mrs.,  Memoirs  of,  135,  191. 

Coleridge,  Samuel  Taylor,  Life  of,  Gil- 
man,  61. 

Collins's,  Wilkie,  Life  of  his  Father,  338. 

Colman  Family,  Memoirs  of  the,  372. 

Columbiad,  Barlow,  84. 

Conchology,  Illustrations  of,  Brown,  349. 

Confederation,  Articles  of,  210. 

Congress,  1754,  Proceedings  of  the  Al- 
bany, 210. 

Congress,  1765,  The  Stamp  Act  of,  210. 

Congress,  1774,  Proceedings  of  the,  210. 

Congress  of  1774,  The,  Brown,  163. 

Congress  of  1774  to  1789,  Continental, 
211. 

Congress  of  1774  to  1789,  Presidents  of, 
210. 


Duyckinck,  69,  81,  83,  233. 

Daly's  Theater,  236. 

Dance  of  Death,  The,  205. 

Dante  Allighieri,  Longfellow,  385. 

Darwin,  Charles,  Life  of,  452. 

David  Copperfield,  Dickens,  244. 

Davy,  Sir  Humphrey,  Life  of,  Paris,  59. 

Decameron,  Boccaccio,  73,  102,  279, 
291. 

Decastro,  J.,  Memoirs  of,  196. 

Declaration  of  Independence,  98. 

Declaration  of  Independence,  Auto- 
graphs, etc.,  of  the  Signers  of  the,  96, 
212. 

Declaration  of  Independence,Biographies 
of  the  Signers  of  the,  208. 

Declaration  of  Independence,  Signers  of 
the,  85,  128. 


Connecticut,  History  of,  272. 

Continental  and  Northern  Tour,  Dibdin,  Decline  of  the  Monarchy,  359. 

102,  279.  De  Fleury,  M.,  Memoirs  of,  105. 

Cooke,  G.  F.,  Life  of,  Raymond,   168,  De  Fortsas,  Comte,  Catalogue,  205 


180. 
Cooper,  Fenimore,  Memorial  of,  337. 
Cooper,  John,  168. 

Cooper,  Thomas  Abthorpe,  Life  of,  142. 
Cooper,  Thomas  Abthorpe,  Memoir  of, 

178. 
Copley  and  His  Works,  339. 
Coquelin  versus  Irving,  129. 
Counterblast  to  Tobacco,  King  James  I., 

284. 
Country  Girl,  The,  128. 
Court  and  Society  from  Elizabeth  to  Anne,    De  Witts,  Life  of  the,  267. 


De    Lafayette,    Gilbert  Motier,  Life  of, 

Adams,  98. 
Derby,  Countess  of,  168. 
Description  des    Nouveaux  Jardins  de 

la  France,  349. 
Description  of  Strawberry  Hill,  A,  120. 
De  Sevigne,  Madame,  Letters  of,  242. 
Desmoulins,    Camille,    and    his     Wife, 

Claretie,  231. 
Despreaux,  Nicolas  Boileau,  Oiuvres  de, 

243- 


105. 
Court  of  James  I.,  Aiken,  284. 
Covent  Garden  Journal,  The,  181. 
Crabbe,  Rev.  George,  Life  of,  165. 
Critic,  The,  128. 

Croakers,  The,  84,  114,  192,  232. 
Cromwell,  Oliver,  Letters  and  Speeches 

of,  359. 


Diary  of  a  Scamp,  Bury,  183. 
Dibdin,  Thomas,  Life  of,  181. 
Dibdin,  Thomas,  Reminiscences,  356. 
Dibdin,  Thomas  F.,  Works  of,  330. 
Dickens,  Charles,  Life  of,  Forster,  145, 

199,  244. 
Dickens,  Works,  199. 
Dictionary  of  Artists,  Spooner,  76,  82. 


491 


Dictionary    of    Music    and    Musicians, 

Grove,  194. 
Dictionary  of  Painters  and  Engravers, 

Bryan,  74,  77,  135,  194. 
Dictionary  of  Painters  and  Engravers, 

Spooner,  339,  342,  375. 
Discourse,  Francis,  182. 
Dissertation  on  Slavery,  A,  Tucker,  455. 
Divina  Commedia,  The,  Dante,  loi. 
Donaldson's  Recollections,  181. 
Don  Quixote  de  la  Mancha,  Cervantes, 

328,  403. 
Don   Quixote  de  la  Mancha,  Cervantes 

(Viardot),  240. 
Dombey  and  Son,  Dickens,  244. 
Dramatic  Biographies,  119. 
Dramatic  Memoirs,  373. 
Dramatic  Mirror,  181,  355,  358. 
Dramatic  Portraits,  Collection  of,  Sayre, 

136. 
Dramatic  Table-Talk,  Ryan,  379. 
Dudley,  Dorothy,  Diary  of,  254. 
Duff,  Mrs.  Mary  A.,  Memoirs  of,  177. 
Dunciad,  The,  Pope,  411. 
Dunlap,  Life  of,  Raymond,  180. 
Diirer,  Albert,  Life  and  Works  of,  Scott, 

81. 
Dutch  in  America,  The,  281. 
Dutch  Republic,  Motley,  194,  4T4. 

Early   Players    of    Great   Britain,  The, 

178. 
Early  Poetry  of  France,  Costello,  237. 
Eliot,  George,  Life  of.  Cross,  357. 
Elliston,  Robert  W.,  Life  and  Memoirs 

of,  Raymond,  180,  328. 
Elssler,  Fanny,  129. 
Eminent  Philadelphians,  Simpson,  112. 
Emmet,  Robert,  Life  of,  215. 
Emmet,  Thomas  Addis,  Life  of,  215. 
Emmet,    Thomas  Addis,  and  His  Son, 

Life  of,  215. 
Enchiridion  of  Wit,  The,  197. 
Enemies  of  Books,  Blades,  401. 
England,    Bibliographical    History    of. 

Granger,  54,  85,  124. 


England,  France,  and  Spain,  Chronicles 

of,  Froissart,  92,  237. 
England,  History  of,  Macaulay,  193,  261, 

413- 
England,  Pictorial  History  of.  Knight's, 

276. 
England,  Shakspeare's,  146. 
England,  The  Literary  History  of,  105. 
English  Bards   and   Scotch   Reviewers, 

Byron,  60,  67,  81,  84,  162,  192,  193, 

240,  314. 
EngHsh  Country  Squire,  The,  Von  Hol- 

sendorf,  317. 
English  History  and  Biography,  179. 
English  Humorists,  Thackeray,  147,  401. 
English  Literature,  Richardson,  318. 
English   Literature,  History   of,   Taine, 

105,  147,  150,  359,  378,  386,  402. 
English  Note  Book,  Hawthorne,  150. 
English  People,  History  of  the,  Green, 

157. 
English  Prose  Writers,  364. 
English  Stage,  A  New  History  of  the, 

1 06. 

English  Stage,  History  of  the,  Genest, 
127. 

Engravers  of  America,  Baker,  379. 

Engraving  and  the  Early  History  of 
Engraving,  Ottley,  81. 

Environs  of  London,  Lyon,  386. 

Essays,  Biographical  and  Miscellaneous, 
Prescott,  91. 

Essays,  Critical  and  Historical,  Macau- 
lay,  155,  323. 

Essays,  Lamb,  145. 

Essays  on  the  Drama,  Donne,  145. 

Essays  on  the  Spirit  of  the  Revolution, 
St.  Just,  414. 

E-Soc-Quet,  108. 

Etchings  and  Etchers,  Hamerton,8o,  340. 

Europe,  History  of,  Alison,  414. 

Evenings  with  the  Sacred  Poets,  145. 

Everett,  Edward,  115. 

Everett,  Edward,  Memorial,  245. 

Everett,  Edward,  Memoirs  of,  78. 

Excelsior,  Longfellow,  144. 


49^ 


Fair  Women,  430. 
Fall  of  New  France,  Hart,  359,  403. 
Farren,  Miss  Eliza,  168. 
Female   Aristocracy   of    the    Court    of 
Queen  Victoria,  349. 


French  Revolution,  Thiers,  72. 
French  Revolution,  Carlyle,  269,  333. 
French  Stage,  Hook,  181. 
French    Stage   and  the  French  People, 
The,  105. 


Field  Book  of  the  Revolution,  Lossing,  French  Stage,  Annals  of  the,  106. 

212.  Frenchwomen  of  the  Century,  Uzanne, 

Field  Sports,  Forester,  107.  231. 

Fielding,   Henry,    Life   and   Genius   of.  Frith,  William  P.,  Memoirs  of,  183. 

Murphy,  314.  Fulton,  Robert,  Life  of,  Colden,  89. 

Fine  Arts,  Bibliographical   History  of  P'useli,  Henri,  Life  and  Writings  of,  147. 

the,  Spooner,  94. 

Fish  and  Fishing  in  the  U.  S.,  Herbert,  Garrickin  the  Green  Room,  124. 

349.  Garrick,  Private  Correspondence  of,  124, 

Fitzherbert,  Mrs.,  Life  of,  267.  Garrick,  David,  Life  of,  Davies,  124, 170. 

Fleurs  de  Persil,  340.  Garrick,  David,  Life  of,  Fitzgerald,  102, 

Foote,  Samuel,  Memoirs  of,  iSi.  127,  139,  193,  196. 

Footprints   of  Charles    Lamb,   Marten,  Geography  of  Plants,  349. 


114. 
Forgeries,  Ireland,  127. 
Forrest,  Edwin,  Rees,  168,  181,  190. 
Forrestiana,  190. 

Fort  Henry  to  Corinth,  Force,  380. 
Four  Georges,  The,  Thackeray,  179,  285, 


George  HI.,  179. 

George  IH.,  Jesse,  194. 

George  IV.,  Life  of,  183. 

Georgia  Portfolio,  248, 

Georgia,  Rulers  and  Governors  of,  Jones, 

247. 
Gilbert,  John,  236. 


400. 

Four  Georges  and  English  Humorists,  Gil  Bias,  Le  Sage,  375. 

145.  Goethe,  Life  of,  204,  232,  277. 

Fox,  Caroline,  Memoirs  of,  164.  Golden  Apples  of  Hesperus,  Linton, 217, 

Fragmenta  Regalia,  Naunton,  2S4,  311,  Gold-Headed  Cane,  The,  Monk,  286. 


364- 
France,  History  of,  Guizot,  156. 
France,  History  of,  Martin,  156. 
Francis  I.,  Pardoe,  359. 
Franklin,  Benjamin,  Life  of,  Parton,  74, 

144.  233,  262. 
Franklin,  Benjamin,  The  Life  and  Times 

of,  333- 
Franklin,  Benjamin,  The  Works  of,  88. 
Franklin  in  France,  Hale,  280. 
Franklin  in  Paris,  Hale,  380. 
Franklin's,    Benjamin,    Autobiography, 

356- 
Franklin's  Letters,  88. 
Freneau's,  Philii>,  Poems,  214. 
French     Literature,    History    of.    Van    Greville's  Memoirs,  164,  194. 

Laun,  105,  147.  Grimaldi,  Joseph,  Dickens,  199. 


Goldsmith,  Oliver,  Cunningham,  122. 
Goldsmith,  Oliver,  Life  of,  156,  325. 
Gossip  about  Portraits,  Tiffin,  151,  232. 
Grammont,  Comte,  Life  and  Memoirs  of, 

183,  189,  364,  385. 
Grant,  General  Ulysses  S.,  Memoirs  of, 

381,  399- 
Gray,  Thomas,  Life  of,  Gosse,  233,  357. 
Graydon's  Memoirs,  112. 
Great  Expectations,  Dickens,  244. 
Greble,  Lieut. -Col.  John  T.,  Memoir  of, 

Lossing,  162. 
Greeley,  Horace,  Life  of,  Ingersoll,  389, 
Greene,  Major-General  Nathaniel,  Life 

Sketches  of,  Johnson,  248. 


493 


Grimaldi,  Joseph,  Life  of,  Downe,  170. 
Grimaldi,   Joseph,    Memoir   of,  "  Boz," 

140. 
Gunpowder  Plot,  Jardine,  284. 
Gwynn,  Nell,  Life  of,  113,  150,  151,  188, 

255,  276,  277,  400. 
Gwynne,  Eleanor,  Memoirs  of  the  Life 

of,  188. 
Gwynne,  Nell,  Cunningham,    126,    181, 

293.313- 

Hakluyt  Society,  Early  Voyages,  124. 
Hale,  Nathan,  Capture  of,  Stuart,  358. 
Halleck,  Fitz-Greene,  Life  and  Letters  of, 

145- 
Halleck's,  Fitz-Greene,  Poetical  Works, 

233. 253- 

Hall's,  Samuel  C,  Memoirs,  183. 

Hamilton,  Alexander,  Facts,  etc.,  Con- 
cerning Death  of,  Coleman,  201. 

Hamilton,  Alexander,  Life  of,  151. 

Hamiltoniana,  371. 

Hancock,  John,  Life  of,  273. 

Handel,  George  Frederick,  Commemo- 
ration of  Birth  of,  361. 

Hard  Tack  and  Coffee,  Billings,  361. 

Hart,  Charles  Henry,  336. 

Hawthorne,  Nathaniel,  and  his  Wife, 
262,  345. 

Haynes,  Joe,  168. 

Henderson,  J.,  168. 

Heptameron,  386. 

Hill,  Francis,  Life  of,  183. 

Historical  Monograph,  96. 

History  of  Flagellation,  237. 

History  of  the  Stage,  Cibber,  181. 

History  of  the  Tower,  Bayley,  285. 

Hogarth,  Ireland,  412. 

Holbein,  Life  of,  314. 

Holland,  George,  Life  and  Memoirs  of, 
145,  181,  236. 

Holland,  History  of,  Davis,  414. 

Homes  of  American  Authors,  Putnam, 
122. 

Hook,  Theodore,  105, 

Hopkinson,  Francis,  Memoirs  of,  113. 


House  of  Orleans,  A  History  of  the,  359. 
Hunt,  Leigh,  182. 

Iconographia  Scotica,  156. 

Iliad,  Homer,  117. 

Illustration   of   Books,  etc..  Guide    to, 

Hobson,  463. 
Imitation    of   Jesus   Christ,  Thomas   a 

Kempis,  324. 
Imperial  Gazetteer,  Blackie,  349. 
Inchbald,     Mrs.     Elizabeth,     Life     of, 

Boaden,  168,  180. 
Inconstant,  The,  128. 
Indian  Sketches,  J.  T.  Irving,  243. 
Indian  Wars,  272. 
Indians    of  North   America,  Biography 

and  History  of  the,  Drake,  349. 
Inquiry  into    the    Portraiture  of   Shak- 

speare,  Boaden,  337. 
Iron  Mask,  The,  Ellis,  284. 
Irving,  Henry,  129,  235. 
Irving,  Henry,  A  Biographical  Sketch, 

Brereton,  190. 
Irving  Memorial,  Duyckinck,  200,  235. 
Irving,  Washington,  Life  and  Letters  of, 

75,  255. 
Irvingiana,  84,  198. 
Ivanhoe,  Scott,  237. 

Jackson,  Andrew,  Life  of,  Parton,  89. 
James    I.,    Secret    Court    of,    Osborne, 

314- 
James  II.,  Court  of.  Fox,  314. 
James  II.,  Life  of,  Clark,  285. 
Jefferson,  Memoir  and  Correspondence 

of,  Randolph,  380. 
Jefferson,  Thomas,  Life  of,  Randall,  90. 
Jeffersons,  The,  Winter,  265. 
Jeffreys,  Judge,  Life  of,  Woolrych,  284. 
Jersey  Prison  Ships,  135. 
Joannes,    Count    (George  Jones),  124, 

236,  377- 
Johanna  of  Naples,  Life  of,  237. 
John  Inglesant,  Shorthouse,  398. 
John  Wheelwright,  316. 
Johnson,  Sam,  Anecdotes  of,  315. 


49+ 


Johnson,  Samuel,  Life  of,  Boswell,  72 
113,  122,  125,  127,  144,232,245,324 
360,  427. 

Johnson's  Lives  of  the  Poets,  324. 

Johnsonian,  The,  73. 

Jordan,  Mrs.  Dorothea,  Life  and  Me 
moirs,  168,  181,  196 


Letters  from  Abroad,  Osgood,  150. 
L'  Eventail,  Uzanne,  343. 
L'  Homme  et  L'  oeuvre,  Gavarni,  217. 
Library  Companion,  Dibdin,  78,  278. 
Library  Notes,  Russell,  389. 
Lincoln,  Autograph  Letter  of,  381. 
Lincoln,  Abraham,  Life  of,  Arnold,  381. 


Junot,  Madame,  Duchesse   d'Abrant^s,    Lincoln,  Abraham,  Obsequies  of,  235 


Memoirs  of,  229. 

Kean,  Charles,  129. 

Kean,  Edmund,  169. 

Kean,  Edmund,  Life  of,  Cornwall,  180. 

Kean,  Edmund,  Life  of,  Hawkins,  127. 

Kean,  Edmund,  Life  of,  Molloy,  193. 

Keats's,  John,  Letters,  Forman,  271. 

Keese,  John,  Biography  of,  367. 

Keese,  John,  Memoir  of,  Keese,  234. 

Kemble,  John  J.,  168. 

Kemble,  J.  P.,  Life  of,  Boaden,  180. 

Kemble's,  Fanny,  Record,  183. 

Kemble's,  J.  P.,  Farewell  Address,  195. 

Kembles,  The,  145. 

Knox,  General  Henry,  Life  of,  379. 

Lafayette,  Eulogy  on,  Adams,  337. 

Lafayette,  Recollections  of,  Parker,  357. 

La  Fontaine,  Jean,  340. 

La  Fontaine,  Jean,  Life  of,  99. 

Lamb,  Charles,  Footprints  of,  Marten, 

114. 
La  Mort  d' Arthur,  Caxton,  335. 
La  Pucelle,  Voltaire,  294. 
Last  Leaf,  Holmes,  144. 


Lind, Jenny, 236. 

Literary  Character,  D'Israeli,  198. 

Literary  Landmarks  of    London,  The, 

Hutton,  181,233,  403- 
Literary  Life  in  the  U.S.,  97. 
Literature  in  Letters,  Holcomb,  281. 
Literature  of  Europe,  Hallam,  414. 
Literature  of  Society,  194. 
Little  Dorrit,  Dickens,  244. 
Lives  of  the  Players,  Gait,  119,  183,  401. 
Lives  of  the  Poets,  Johnson,  360. 
Livingston,  Edward,  Life  of.  Hunt,  151, 

229. 
Livingston,  Governor  William,  Life  of, 

Sedgwick,  227. 
London,  Knight's,  245. 
London  and  its  Celebrities,  165. 
London  and  its  Environs,  Lambert,  372. 
Longfellow,  H.  W.,  Life  of,  Longfellow, 

164,  285. 
Longfellow,  Life  and  Final   Memorials 

of,  269. 
Louis  XIV.,  Pardoe,  359. 
Louis  XIV.,  Age  of,  Martin,  342,  359. 
Louis  XIV.,  Life  and  Times  of,  James, 

359- 


Leaders  of  the  Old  Bar  of  Philadelphia,    Love's  Labour's  Lost,  128 


Loyalist's  Poetry  of  the  Revolution,  Sar- 
gent, 214. 
Lyrics  of  the  Heart,  325. 


Binney,  320,  338. 
Le  Brun's,  Madame,  Memoirs,  183. 
Lee,   Major-General,  Court-Martial    of, 

356. 
Lee's,  General,  Memoirs,  382. 
Leech,  John,  Life  of,  200. 
Le  Sage,  Alain  Rene,  340. 
Leslie,  Charles  Robert,  Autobiographical    Malibran,  Madame,  Life  of,  181. 

Recollections  of,  Taylor,  235,  337.         Manet,  M.,  Bazire,  217. 
Les  Maitresses  de  Louis  XV.,  261.  Marie  Antoinette,  Last  Days  of,  Lord 

Les  Miserables,  Hugo,  398.  Gower,  269. 


Macklin,  Charles,  Life  of,  Kirkman,  1 70. 

Macready,  W.  C,  168. 

Maine,  History  of,  Sullivan,  272. 


Marie  de  Medicis,  Pardee,  359. 

Marie  Louise,  Durand,  114, 

Marriages  of  the  Bourbons,  183. 

Marvelous  Boy,  The,  165. 

Mary  Queen  of  Scots,  73. 

Mary  Queen  of  Scots,  Lamartine,  1 14. 

Mary  Queen  of  Scots,  Stanhope,  285. 

Mary  Queen  of  Scots  and  her  Latest 
English  Historian,  98. 

Mary  Queen  of  Scots,  Life  of,  59. 

Mary  Stuart,  De  Lamartine,  244. 

Maryland  Historical  Series,  214. 

Massachusetts,  Currency  of,  Paine,  95. 

Massachusetts,  Historyof,  Bradford,  273. 

Mathews,  Charles,  168. 

Mathews,  Charles,  A  Memoir  of,  118. 

Mathews,  Chas.,  Life  of,  Mrs.  Mathews, 
180. 

Mathewiana,  118. 

Maud's  Visit  to  Niagara  Falls,  234. 

McClellan's,  General  George  B.,  Me- 
moirs, 382. 

McCullough,  John,  Memoir  of,  137. 

McFingal,  Trumbull,  380. 

Medicine,  History  of,  Baas,  286, 

Memoirs  of  Music,  Rimbault,  71. 

Men  and  Manners  in  America,  183. 

Men  and  Manners  of  France,  Houssaye, 
360, 

Men  and  Women  of  the  Eighteenth  Cen- 
tury, Houssaye,  150. 

Menken,  Adah  Isaacs,  34. 

Merrie  England  in  the  Olden  Time, 
Daniels,  198. 

Merry  Wives  of  Windsor,  128. 

Midsummer  Night's  Dream,  128. 

Military  Journal  of  the  Revolution, 
Thatcher,  286. 

Millet,  Jean  Fran9ois,  Life  of,  Sensier, 
216. 

Milton,  Boydell,  314. 

Milton,  John,  115. 

Milton,  John,  Life  and  Works  of,  410. 

Mitford's  Recollections,  183. 

Monarchs  and  their  Families,  etc.,  The, 


156. 


Monograph     on     Privately    Illustrated 

Books  (1st  ed.),  165,  235,  356. 
Montez,  Lola,  129. 
More,  Sir  Thomas,  Life  of,  314. 
Moreau,  Charles  C.,232. 
Morley,  Henry,  The  Letters  of,  318. 
Morris,  Gouverneur,  Life  of,  Sparks,  380. 
Motley,  J.  L.,  Works  of,  267. 
Mount  Vernon,  97. 
Murphy,  Arthur,  125. 
Music  in  New-York,  White,  235. 
Musical  Drama,  Hogarth,  181. 
My  Prisons,  Pillico,  318. 
My  Reminiscences,  Gower,  322. 

Napoleon  (Hazlitt  ed.),  114. 

Napoleon  and  the  Grand  Army  in  Russia, 

358. 

Napoleon,  Court  of,  Goodrich,  142. 

Napoleon,  History  of,  Bussey,  355. 

Napoleon,  Life  of,  156. 

Napoleon,  Portraits  of,  Ropes,  97. 

Napoleonic  Ideas,  Bonaparte,  358. 

National  Academy  of  Design,  Annals  of 
the,  Cummings,  87. 

National  Flag,  History  of  the,  Hamil- 
ton, 83. 

Necker,  Madame  Susanne,  The  Salon 
of,  De  Haussonville,  230. 

Negro  Minstrels,  234. 

Nelson,  Life  of,  113. 

Nelson,  Lord  Horatio,  Life  of,  Southey, 

358. 
New  Atalantis,  The,  Manley,  298. 
New  England,  History  of,  Neal,  272. 
New  England,  History  of,  Palfrey,  285. 
New  Hampshire,  History  of,  Belknap, 

273.317- 

New  Helen,  The,  Wilde,  133,  391. 

New  Life  of  Hercules,  A,  Browne,  281. 

New  London,  Conn.,  History  of,  Caul- 
kins,  399. 

Newport,  R.  I.,  Reminiscences  of.  Ma- 
son, 71. 

New  Spirit  of  the  Age,  A,  Home,  401. 

New- York  City,  Lamb,  200. 


496 


New-York  City,  History  of,  Lossing,  182. 
New-York  City  during  the  Revolution, 

201,  245. 
New-York    during   the   Century,  Duer, 

254- 

New- York  during  the    Last    Half-Cen- 
tury, 122. 

New-York,  Earliest  Churches  of,  234. 

New-York,  History  of.  Booth,  214,  379. 

New- York,  History  of,  Lamb,  266. 

New-York,  History  of  the  City  of.  Lamb, 

ass- 
New-York,  History  of,  Valentine,  182. 
New-York,  Knickerbocker's  History  of, 

Irving,  57,  155,  218,  253. 
New-York    Letters   in    the    Revolution, 

282. 
New-York  Stage  from  the  Earliest  Date 

to  the  Present  Time,  Records  of  the, 

234- 
New- York  Stage,  1860-70,  History  of 

the,  Hagan,  235. 
New-York  Stage,  Records  of  the,  Hagan, 

267. 
New- York  Stage,  The,  Ireland,  102,  120, 

129,  136,  145,  169,  175,234. 
Ney,  Marshal,  Memoirs  of,  356. 
Nicholas  Nickleby,  Dickens,  244. 
Nobility,  etc..  The,  156. 
Nollekins,  Joseph,  and  His  Times,  339. 
Norman  Kings  of  England,  History  of 

the,  105. 
Northcote's,  James,  Conversations,  Haz- 

litt,  231. 
Northern  Tour,  Dibdin,  278. 
Nothing  to  Wear,  302. 
Novels  and  Novelists  of  the  Eighteenth 

Century,  Forsyth,  147. 


Occasional  Addresses,  Hutton,  181. 
Odes  of  Anacreon,  Moore,  69,  115,  384. 
CEuvres  de  Nicolas  Boileau-Despr^aux, 

243- 
Old  Actors,  Baker,  181. 

Old  and  New  London,  363. 

Old  Court  Life  in  France,  105. 

497 


Old  Court  of  France,  Elliot,  398. 

Old  Drury,  142. 

Old  Ironsides,  Holmes,  144. 

Old  London,  Pennant,  182. 

Old  London  Comedians,  182. 

Old  Man's  Diary,  An,  Collier,  333. 

Old  New  York,  Francis,  80,  87,  112, 
121,  145,  151,  171,  182,  198,  200,  214, 
233>  252,  262,  372,  378. 

Old  Playgoer,  Robson,  181. 

One  Hundredth  Anniversary  of  Carpen- 
ter's Hall,  Philadelphia,  Brown,  214. 

One  Hundred  Days  in  Europe,  Holmes, 
146,  183,  322. 

O'Neill,  Miss,  168. 

Operas  of  Richard  Wagner,  191. 

Origin   and   History  of  Playing  Cards, 

379- 
Oroonoko,  the  American  Princess,  Behn, 

299. 
Our  Country,  Lossing,  233. 
Our  French  Allies,  Stone,  283. 
Outbreak  of  the  Rebellion,  Nicolay,  380. 
Outlines  of  the  History  of  Art,  Liibke, 

342. 

Palmer,  John,  168. 

Paper  of  Tobacco,  A,  Finne,  343. 

Paradise  Lost,  Milton,  179,  348. 

Park  Theater,  236. 

Parsons,  William,  168. 

Passio  Christi,  Diirer,  78. 

Patronage  of  British  Art,  Pye,  338. 

Payne,  John  Howard,  Life  and  Works 

of,  Harrison,  145,  171. 
Peace  with  Mexico,  Gallatin,  74. 
Peninsula,  The,  Webb,  381. 
Pennsylvania  Academy  of  the  Fine  Arts, 

338. 
Pepys,  Samuel,  and  the  World  He  Lived 

In,  256. 
Pepys,  Samuel,  Diary  of,  150,  256,  340, 

363- 
Petrarca  and  Dante,  Foscolo,  343. 

Petrarca,  Francisco,  Life  of,  237. 

Petrarch,  Reviews  of,  237. 


Philadelphia,  A  History  of,  Westcott, 
109. 

Philadelphia,  A  History  of  the  District 
Court  of,  Mitchell,  322. 

Philadelphia,  Views  of,  Birch,  iio. 

Philadelphians,  Lives  of  Eminent,  Simp- 
son, 321. 

Philosophers  and  Actresses,  Houssaye, 
98. 

Philosophy  of  Fiction,  The,"  Thompson, 
462. 

"  Phiz  "  (H.  K.  Browne),  Life  of,  200. 

Pictorial  Sketch  Book  of  Pennsylvania, 
Bowen,  349. 

Picture  Collectors'  Manual,  Hobbs,  379. 

Pickwick  Papers,  Dickens,  244,  264, 375. 

Pilgrim  Fathers,  Bartlett,  273. 

Pilgrimage  to  Stratford-upon-Avon,  A, 
242. 

Pilgrim's  Progress,  The,  Bunyan,  243. 

Piozzi,  Mrs.  Esther  L.,  Autobiography 
of,  165. 

Players  and  Playhouses,  Lennox,  266. 

Playing  Cards,  Chatto,  286. 

Plays  and  Players,  Hutton,  181,  260. 

Pleasures  of  Memory,  Rogers,  75. 

Poems  of  the  Revolution,  Freneau,  113. 

Poets  Laureate  of  England,  The,  Hamil- 
ton, 344. 

Poets  of  America,  Stedman,  269,  315. 

Poets  of  England,  Campbell,  183. 

Pokahontas,  My  Lady,  Cooke,  280. 

Pope,   General,   Army    under,    Gordon, 

381. 
Porsoniana,  161. 

Portraits  of  Eminent  Americans,  349. 
Portrait  Painting  and  Engraving,  456. 
Prescott,  William  H.,  Life  of,  Ticknor, 

281,  338. 
Presbyterian  Church  of  Trenton,  N.  J., 

History  of  the,  Hall,  231. 
Presidents   and  Vice-Presidents   of  the 

U.  S.,  128. 
Priapus,  Essay  on  the  Worship  of,  291. 
Prince  Charles   Edward   Stuart,   Close, 

284. 


Print  Collector,  Maberly  (Hoe  ed.),  75, 

81,  204,  402. 
Private  Libraries  of  New  York,  Wynne, 

84,  115,380. 
Pulaski,  Casimir,  Life  of,  248. 
Pursuits  of  Literature,etc.,  The,  Mathias, 

70,  235. 

Queen  Anne,  Burton,  285. 

Queen  Charlotte,  179. 

Queen  Elizabeth,  Aiken,  323. 

Queen  Victoria  and  her  Ancestors,  179. 

Queens  of  Society,  194. 

Quin,  James,  168. 

Rabelais,  84. 

Raimbach,  Abraham,  Memoirs  of,  413. 

Raleigh,  Sir  Walter,  Brief  Memoir   of, 

Drake,  332. 
Random  Records,  Coleman,  l8l. 
Rape  of  the  Lock,  Pope,  237. 
Rebellion,  Clarendon's,  85. 
Recollections  of  an  Angler,  108. 
Record  of  a  Girlhood,  Kemble,  146. 
Records  of  Patriotism,  Bailey,  87. 
Records  of  the  Stage,  Ireland,  197,  198, 

201. 
Recruiting  Officer,  128. 
Reformation,  History  of  the,  D'Aubigne, 

112. 
Reidesel,  Gen.,  Memoirs  of.  Stone,  255. 
Rejected  Addresses,  Smith,  314,  343. 
Relics  of  Genius,  Grimsted,  233,  379. 
Rembrandt  and  his  Works,  Burnet,  77. 
Rembrandt,  His   Life  and  His  Works, 

Vosmaer,  336. 
Rembrandt,  Life  of,  314, 
Rembrandt,  L'Oiuvre  Complet  de,  77. 
Rembrandt,  Prints  of,  Loftie's,  80. 
Reminiscences  of  a  Literary  Life,Dibdin, 

324- 
Remusat,  Madame,  Countess  de,  Memoirs 

of,  319. 
Renaissance,    Photographic   History  of 

the,  393. 
Representative  Actors,  Russell,  181. 


498 


Republican  Court,  Duer,  151. 
Republican  Court,  The,  Griswold,  321. 
Residences  of  the  Signers,  Brotherhead, 

90. 
Retrospections  ofthe  Stage,  Bernard,  181, 

195. 
Retrospects  of  a  Long  Life,  Hale,  165, 

264. 
Reynolds,  Frederic,  Life  and  Times  of, 

151. 
Reynolds,  Sir  Joshua,  264. 
Reynolds,  Sir  Joshua,  and   His  Times, 

264. 
Rhode  Island,  History  of.  Calender,  273. 
Rhode  Island,  Memoirs  of,  Bartlett,  74. 
Rigby,  Colonel  Alexander,  Banks,  284. 
RimbauU,  Edward  F.,  71. 
Rivals,  The,  Sheridan,  276. 
Robespierre,  Isidore,  Life  of,  Lewes,  229. 
Robinson  Crusoe,  Defoe,  311. 
Robinson's,  Henry   Crabb,  Diary,  144, 

164,  258,  401. 
Romola,  Eliot,  398. 
Roster  ofthe  Confederate  Army,  382. 
Roster  of  the  U.  S.  Army,  382. 
Rousseau,  Life  of,  Sensier,  217. 
Rousseau,    M.,  Souvenirs  sur,   Sensier, 

217. 
Rousseau,  Voltaire,  and  Diderot,  Morley, 

360, 
Royal    Academy   of   Arts,   History   of, 

Sandby,  414. 
Royal  and  Noble  Authors,  Walpole,  1 79, 

412. 
Royal  and   Noble  Authors  of  England, 

etc.,  120. 
Rush,  Benjamin,  Memoirs  of,  113. 
Rush's,  Richard,  Residence  at  the  Court 

of  London,  235. 
Russell,  Memoirs  ofthe  House  of,  Wiffen, 

74- 
Ryley's  Itinerant,  136. 

St.  Paul's  Cathedral,  151. 
Saint  Simon,  Memoirs  of  the  Duke  of, 
106,  204,  258,  414. 


Salmon   Fishing  of  Restigouche,  Sage, 

105. 
Sanzio,  Raphael,  The  Life  and  Works  of, 

343- 

Saunterings  In  and  About  London, 
Schlesinger,  146. 

Savannah,  Siege  of,  21 1. 

Savannah,  Siege  of,  Jones,  357. 

Savannah,  Siege  of,  in  1864,  247. 

Savannah,  Siege  of,  in  1779,  247. 

Schiller,  Life  and  Works  of,  Carlyle,  277. 

School  for  Scandal,  Tlie,  128. 

Scope's  Days  and  Nights  of  Salmon  Fish- 
ing, 107. 

Scott,  General,  Life  of,  151. 

Scott,  General  Winfield,  Memoirs  of,  83. 

Scott,  Sir  Walter,  Poetical  Works  of,  262. 

Scott's,   Sir   Walter,  Works,   Lockhart, 

364- 
Seasons,  The,  Thomson,  303. 
Secret  Cabinet  of  the  Royal  Museum  at 

Naples,  292. 
Sentimental  Journey,  Sterne,  68,  445. 
Sforza,  133. 

Shades  of  an  Old  Bookseller,  115. 
Shadow  of  the  Pyramid,  The,  Ferguson, 

343- 
Shakspeare,  Life  of,  Knight,  88,  99,  196, 

388. 
Shakspeare  Portraits,  Inquiries  into  the 

Authenticity  of,  Boaden,  81,  312,  389. 
Shakspeare's    Complete    Works,  Halli- 

well,  195. 
Shakspeare's  Plays,  Staunton,  195. 
Shakspeare,  William,   Life   and   Works 

of,  332,  376- 

Shakspeare,  William,  Works  and  Biog- 
raphy of,  Knight,  263. 

Shakspeare's  England,  Winter,  189. 

Shakspeare  (Chalmers'  ed.),  410, 

Shakspeare  (Dyce  ed.),  409. 

Shakspeare's  Works,  197. 

Shakspeare,  Boydell's,  215. 

Shakspeare,  Works  of,  3S7. 

Sharp,  William,  Life  of.  Baker,  337. 

Sheridan's,  Phil,  Memoirs,  361,  382. 


499 


Sheridan,  Richard  Brinsley,  Life  of,  125, 
204. 

She  Would  and  She  Would  n't,  128, 

Shelley,  Percy  Bysshe,  270. 

Shenandoah  Valley,  The,  Paul,  381. 

Sherman's,  General  W.  T.,  Memoirs, 
381. 

Shippen  Family,  The,  113. 

Shippen  Papers,  The,  214. 

Siddons,  Mrs.  Sarah,  168. 

Siddons,  Mrs.  Sarah,  Life  of,  Campbell, 
102,  126,  328. 

Siddons,  Mrs.  Sarah,  Life  of,  Boaden, 
180,  196. 

Sidney,  Sir  Philip  and  his  Times,  311. 

Sidney,  Sir  Philip,  The  Life  and  Writ- 
ings of,  276. 

Signers  of  the  Declaration  of  Indepen- 
dence, 90. 

Sketch  Book,  Irving,  70,  193,  200,  255, 
372. 

Sketches  and  Impressions,  Goodwin,  181. 

Sleepless  Soul,  etc.,  The,  165. 

Songs  of  the  Sunland,  Miller,  318. 

Spanish  Armada,  The,  Lathbury,  284. 

Spanish  Papers,  325. 

Sportsman  and  his  Dogs,  350. 

Sportsman's  Annual,  350. 

Sportsman's  Repository,  Scott,  350. 

Stage,  The,  Murdock,  389. 

Stage,  The,  Before  and  Behind  the  Cur- 
tain, Bunn,  195. 

Stage,  History  of  the,  Betterton,  195. 

Stage,  History  of  the,  Ireland,  267. 

Standard  Theater,  236. 

State  of  the  Prisons,  Wines,  318. 

Stothard,  Thomas,  Life  of.  Bray,  117, 
147,  235,  243,  255,  311,  337,  342,  412. 

Sylvan  Year,  The,  Hamerton,  453. 

Table-Talk,  Mathews,  180. 
Table-Talk,  Rogers,  146,  161. 
Table-Talk  of  John  Selden,  The,  179. 
Tales  of  a  Traveller,  325. 
Tales  of  My  Landlord,  Scott,  92. 
Tallemant  Des  Reaux,  414. 


Talleyrand,  Charles   Maurice,   Memoirs 

of,  347- 
Tammany  Society,  History  of  the,  182. 
Tarleton's,  Colonel  Bannastre,  Campaign, 

248. 
Task,  The,  Cowper,  75. 
Tatnall,    Commodore    Josiah,    Life    of, 

Jones,  248. 
Tenth  Massachusetts  Battery,  The,  Bil- 
lings, 360. 
Thackeray,  William  Makepeace,  Life  of, 

Trollope,  232. 
Thackeray,    William    Makepeace,    The 

Letters  of,  318. 
Thackeray's  Letters  to  Ann  Burchfield, 

127. 
Thames  and  its  Tributaries,  The,  147. 
Theatres  of  London,  124. 
Theatres  of  Paris,  236. 
Theatrical    Portraits,    etc.,   Donaldson, 

358. 
Theatrical  Portraits,  etc.,  Mathews,  119. 
Then  and  Now,  Bacon,  161. 
Thespian  Magazine,  The,  181. 
Thespis,  etc.,  Kelly,  126. 
Three  Months  in  the  Southern  States, 

Fre mantle,  356. 
Ticknor,  George,  Life  and  Letters  of, 

95- 
Tilden,  Gov.  Samuel  J.,  Life  of,  151. 
Tobacco  and  its  Associations,  Fairholt, 

"3- 

Tomo-Chi-Chi,  Life  of,  247. 

Tour  in  France  and  Germany,  Dibdin, 
78,  183. 

Tour  to  the  North  of  England  and  Scot- 
land, 78. 

Tower  of  London,  The,  112. 

Travels,  Cox,  183. 

Treason  of  Charles  Lee,  Moore,  338. 

Treatise  on  the  Improvement  of  Canal 
Navigation,  Fulton,  62. 

Treatyse of  Fysshynge, etc. ,  The,  Berners, 
106. 

Trip  of  the  Oceanus,  81. 

Trollope's,  Mrs.  Frances,  Works,  182. 


500 


Trumbull,  Col.  John,  Autobiography  of, 

201,370. 
Trumbull,  John,  Life  of,  58. 
Types  of  Mankind,  282. 
Typographical  Antiquities,  etc.,  Dibdin, 

57,  330- 
Turner,  L.  G.,  399. 

Uncle  Tom's  Cabin,  144. 
Union  Club  of  Philadelphia,  1871,  Memo- 
rial of  the,  161. 
Union  Square  Theater,  236. 
Union  Square  Theater,  History  of  the, 

135- 

United  States,  Convention  for  Forming 

the  Constitution  of  the,  211. 
United  States,  History  of  the,  Bancroft, 

273,  285,  399. 
United  States,  History  of  the  Flag  of  the, 

Preble,  390. 
United  States,   Naval   History  of  the, 

Cooper,  83,  99,  399. 
United  States,  1789  to  1864,  Presidents 

and  Vice-Presidents  of  the,  210. 
Utopia,  More  (Dibdin  ed.),  106. 

Valentino,  133. 

Van  Dyck,  Anthony,  Memoirs  of,  Car- 
penter, 78. 

Van  Dyck,  Life  of,  314. 

Van  Dyck,  Prints  of,  Loftie's,  80. 

Verplanck,  G.  C,  Biographical  Sketch 
of,  Daly,  214. 

Vermont,  History  of,  273. 

Vestiges  of  the  Natural  History  of  Crea- 
tion, Chambers,  459. 

Vestris,  Madame  Marie  Rose,  168. 

Vestris,  Maria  Gasparo,  Memoirs  of, 
180. 

Vicar  of  Wakefield,  Goldsmith,  242. 

Victorian  Poets,  Stedman,  99,  315. 

Vie  et  Ouvrages  de  Jacques  Callot,  80. 

Vindication  of  the  Captors  of  Major 
Andre,  Benson,  357. 

Visit  to  the  Graves  of  Poets,  Painters,  and 
Players,  379. 


Visits  to  the  Last  Homes  of  Poets,  Paint- 
ers, and  Players,  Grimstead,  283. 

Voltaire,  Arouet  de,  340. 

Von  Steuben,  Major-General,  Life  of, 
Knapp,  357. 

Voyage  Around  the  World,  Grant,  182. 

Wallack,  James,  168. 
Wallack,  James,  Life  of,  119. 
W'allack,  J.  W.,  Life  of,  181. 
Wallack,  James  W.,  Memoirs  of.  Baker, 

81. 
Wallack,  Lester,  97. 
Wallack,  Lester,  and  Wallack  Family, 

234- 
Wallack,  Lester,  Life  of,  181. 
Wallack,  Lester,  Memoirs  of,  142,  260. 
Wallack's  Memories  of  Fifty  Years,  97. 
Walpole,  Horace,  120. 
Walpole,  Horace,  and  His  World,  183, 

241,  258,  265,  278,  364,  403. 
Walpole,  Horace,  Memoir   of,  Dobson, 

189. 
Walpole's  Memoirs,  278. 
Walton  and  Cotton's  Angler,  332. 
Walton,  Isaac  (Am.  ed.),  407. 
Walton,  Isaac  (Bagster  ed.),  407. 
Walton,  Isaac  (Major  ed.),  409. 
Walton,  Isaac  (Nicolas  ed.),  406. 
Walton,  Isaac  (Pickering  ed.,  1836),  202, 
Walton,  Isaac,  Life  of,  Zouch,  204,  310. 
Wandering  Patentee,  The,  136. 
Washington,  Marshall's,  72. 
Washington,  Schroeder's,  91. 
Washington  and  His  Generals,  Griswold, 

213. 
Washington  and  His  Generals,  Headley, 

379- 
Washington  at  Valley  Forge,  337. 

Washington  Centenary,  The,  380. 

W^ashington,  Character  of  the  Portraits 

of,  Tuckerman,  86. 
Washington,     Engraved     Portraits     of, 

Baker,  337. 
Washington,  Recollections  of,  Custis,  89, 

201. 


501 


Washington,  Recollections   and  Private 

Memoirs  of,  121. 
Washington,  George,  Life  of,  Everett,  85, 

255.  357- 
Washington,  George,  Life  of,  Irving,  58, 

68,  72,  75,  80,  83,  85,  86,  95,  99,  138, 

155,  201,  214,  233,  262,  355,  399. 

Washington,  George,  Life  of,  Menzies, 

135- 
Washington,  George,  Life  of,  Sparks,  84, 

316. 

Washington's  Farewell  Address,  386. 
Watt,  James,  Life  of,  Arago,  357. 
Waverley  Novels,  Scott,  262. 
Waverley  Novels  (Abbotsford  ed.),  86, 

103. 
Webster,  Life  of,  145. 
Webster,  Daniel,  Reminiscences  of,  231. 
Westminster  Abbey,  112,  151. ' 
Westminster  Abbey,  Dean  Stanley,  269, 

363- 
West  Point,  History  of,  Boynton,  380. 

Wille,  Prints  of,  Loftie's,  80. 


William  III.,  Life  of,  Trevor,  284. 

William  IV.,  179. 

WiliiamlV.,  Wright,  285. 

Williams,  Barney,  129. 

Williamson's,  Tate,  Memoirs,  136. 

Willis's,  N.  P.,  Letters,  183. 

Wits  and  Beaux  of  Society,  Wharton,  194, 

360. 
Woffington,  Peg,  Life  of,  Daly,  130,  428. 
Wolfe,  James,  Death  of,  Sabine,  214. 
Wolsey,  Cardinal,  Life  of.  Cavendish,  179. 
Wolsey,   Cardinal,   Life  and   Death   of, 

Park,  81. 
Women    of    the    Eighteenth    Century, 

Houssaye,  99. 
Wood  Engraving,  History  of,  Linton,  95. 
Wood,  Mr.  and  Mrs.  John,  129. 
Wrangall's,  Baron,  Memoirs,  183. 
Wyoming  and  Its  History,  Stone,  357. 

Yesterdays  with  Authors,  Field,  142, 147, 

156. 
Yorktown,  Centenary  Celebration  of,  149. 


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